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<channel>
	<title>Tom Welsh &#124; Junior Graphic Designer</title>
	<link>https://tomwelsh.design</link>
	<description>Tom Welsh &#124; Junior Graphic Designer</description>
	<pubDate>Tue, 03 Sep 2024 03:56:15 +0000</pubDate>
	<generator>https://tomwelsh.design</generator>
	<language>en</language>
	
		
	<item>
		<title>Neurodiversity within design essay zine</title>
				
		<link>https://tomwelsh.design/Neurodiversity-within-design-essay-zine</link>

		<pubDate>Tue, 03 Sep 2024 03:56:15 +0000</pubDate>

		<dc:creator>Tom Welsh &#124; Junior Graphic Designer</dc:creator>

		<guid isPermaLink="true">https://tomwelsh.design/Neurodiversity-within-design-essay-zine</guid>

		<description>
	
		
			
            ‘Neurodiversity within design workflows &#38;amp; workplaces’ essay zine
		
		
			‘Neurodiversity within 
design workflows &#38;amp; workplaces’ essay zine
		
		
	



	
		This essay discusses 
how we consider neurodivergence within design workplaces and the design process, and comes to the positive conclusion that the 'key' to inclusivity &#38;amp; accessibility is often a simple change that can take a reader from struggling with the work to it being fully accessible to them. For instance, someone may struggle with referencing previous pages of a long document, but a simple change of clear headings will let them know where to look.



The zine design is made to demonstrate the experience that a neurodivergent person has when small adjustments for them have not been considered as part of the design process. It does this through the fact that the reader is unable to access the essay text before they are given a key – which is that each page of the essay is split into sections, so that the text is not in order, and you need to turn each section a certain number of times in order to read an entire page at once.



Having to tear the pages yourself represents a consumer having to make accessibility adjustments for themself.



The background colour was chosen as it is&#38;nbsp;easier to read text on an off-white background as opposed to the strong contrast of a dark black on bright white. Similarly, I&#38;nbsp;didn’t want the choice of fonts to be a factor in the work being hard to access.


Colophon:

Title: N27 (Bold Italic) 36pt. by Atipo.
Headings: Coolvetica (Condensed) 28pt. by Typodermic.
Body: Lexend (Deca) 12 &#38;amp; 9pt. by Shaver-troup, B &#38;amp; Google.

Cover: Takeo Kraft 120gsm &#38;amp; Takeo Tela (Pine) 80gsm laminated around G.F Smith Colorplan (Stone) 270gsm.
Book block: G.F Smith Colorplan (China White) 175gsm.

With perforated ‘tear here’ section lines and spiral bound using a teal/topaz 3:1 coil to allow 360° page turning.


        
	
	
		
		
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</description>
		
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	<item>
		<title>Jobcentre marketing subversion</title>
				
		<link>https://tomwelsh.design/Jobcentre-marketing-subversion</link>

		<pubDate>Sun, 25 Apr 2021 15:14:43 +0000</pubDate>

		<dc:creator>Tom Welsh &#124; Junior Graphic Designer</dc:creator>

		<guid isPermaLink="true">https://tomwelsh.design/Jobcentre-marketing-subversion</guid>

		<description>
	
		
			
            Subverted Jobcentre Plus advertising pack
		
		
			Subverted Jobcentre 
            Plus Advertising Pack
		
		
	



	
		The 'Department for W*nkers &#38;amp; Penalisation' project expresses frustration at the way in which the DWP treats vulnerable and disabled people. Presented as a sample pack of advertising materials for Jobcentre Plus offices, the work is inspired by an advertising campaign that led to the Advertising Standards Authority finding the DWP guilty of misleading readers.



Though the project ostensibly displays advertising material for JobCentre Plus, satire shows through on the second look as you notice how tone-deaf the design language is. 



For instance, the colour combinations used along with the contrast of the background images to the text make the words hard to read, especially for visually impaired people. This was done to hint that the department running the campaign has not considered the needs of the people they are tasked with helping. 



Similarly, by using stock photos of happy and able people alongside optimistic taglines, the mistreatment that users of the service face is also glossed over.



In response to the tagline on its face, the reverse of each deliverable features the commentary of a fed-up dummy DWP employee that expresses the facts and events the designs are based on, which includes news stories and Google reviews. They subvert the DWP logo and brand guidelines for page layout as protest.



        
	
	
		
		
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</description>
		
	</item>
		
		
	<item>
		<title>CoronaPostas</title>
				
		<link>https://tomwelsh.design/CoronaPostas</link>

		<pubDate>Sun, 25 Apr 2021 15:33:33 +0000</pubDate>

		<dc:creator>Tom Welsh &#124; Junior Graphic Designer</dc:creator>

		<guid isPermaLink="true">https://tomwelsh.design/CoronaPostas</guid>

		<description>
	
		
			
            Coronapostas
		
		
			Coronapostas&#38;nbsp;— 2020
		
		
	



	
		A series of posters based on my thoughts of quarantine and COVID-19. For 'Coronapostas' the focus was on trying out new tools and techniques to better express my ideas in future.



The IKEA-styled poster is a satirical depiction of the difficulty to be productive and happy without the work-life balance of separate work and living spaces, or the stability of face-to-face guidance from tutors. The work shows me moving my furniture around (too many times), as a failed attempt to create a productive space.



At the time, lots of artworks were being made about the situation with the virus, which inspired my own works that help put into words what I was feeling: Social distancing and quarantine is hard, but we can do it 'together', and now is the time to help each other. This is why the second poster depicts all different types of people. It was also designed with only the materials and tools I had at-hand; paper, scissors, and my phone.



The next three pieces comment on the inadequacy of the two-metre social distancing rule, and its further reduction, in the context of research that says social distancing is not as effective until an around-eight metre distance is observed. The first of the three specifically criticises the ‘opening up the economy’ justification of the ‘one metre plus’ rule, as it would end up prolonging lockdown — social distance reduction for the price of a pint.



    
	
	
        
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</description>
		
	</item>
		
		
	<item>
		<title>Crème fraîche zine</title>
				
		<link>https://tomwelsh.design/Creme-fraiche-zine</link>

		<pubDate>Sat, 27 Jan 2024 23:46:17 +0000</pubDate>

		<dc:creator>Tom Welsh &#124; Junior Graphic Designer</dc:creator>

		<guid isPermaLink="true">https://tomwelsh.design/Creme-fraiche-zine</guid>

		<description>
	
		
			
            How To Make Crème Fraîche (+ More) By a Graphic Design Student
        
		How To Make Crème 				Fraîche (+ More) by a 
        	Graphic Design Student
        
		
    



	
    	A card stack zine bound by a rubber-band-knot, with a four-colour risograph print cover backed with brown card, and digitally printed inner pages backed with three layers of 250gsm cartridge paper from off-cuts for ease of handling.



For my university course’s table at The Tetley’s ‘Print, Perform, Present’ fair in Leeds I created a zine that contains an easy method to make crème fraîche or sour cream at home, along with tips &#38;amp; tricks, and suggested uses in recipes. 



Each card is designed as a different style experiment, which makes them identifiable at a glance in the kitchen. They were partly inspired by trends I noticed in the work I saw on Instagram – such as the 3D shape for the 'Ingredients' card. The abstract design and mix of colours on the front represent the mix of design styles within the inner cards, and the design on the back references the card stack format of the work.



The project was useful to improve both how well I can pick typefaces to match with visual styles, as well as my typesetting – although I can see flaws in the work which I wouldn't create now.



I also created some business cards for the event with a repeating motif, along with a second design for cards to hand out, which were printed on the reverse side of unused covers from the main work. This re-use, along with using off-cuts and rubber bands to thicken and bind the cards, links to the sustainability mindset of the project, as the reason I first made crème fraîche at home was to prolong the life of some cream I had, and make it go further in my cooking.


        

	
    	
        
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	</item>
		
		
	<item>
		<title>The Liberated Page poster zine</title>
				
		<link>https://tomwelsh.design/The-Liberated-Page-poster-zine</link>

		<pubDate>Sun, 25 Apr 2021 15:32:54 +0000</pubDate>

		<dc:creator>Tom Welsh &#124; Junior Graphic Designer</dc:creator>

		<guid isPermaLink="true">https://tomwelsh.design/The-Liberated-Page-poster-zine</guid>

		<description>
	
		
			
			The Liberated Page: Aura, Need, New Material, and Access
		
		
			The Liberated Page: 
			Aura, Need, New Material, 
			and Access
		
		
	



	
		An essay focusing on how digital reproduction has influenced graphic design, and the benefits and drawbacks of the digitisation of image, presented in a posterzine format.
        
        The essay text can be downloaded here for viewing.
        
        The cover of the poster zine features the Venus de Milo, a famous ancient Greek statue, re-apropriated and repeated using the RGB colour set, to represent the themes referred to in the essay title.
		
The (A2) poster side presents a sculpture I created in Sculptris, the image exists only in the digital space and through reproductions, which serves to represent some of the points I make within the text.
		
        A sticky-back glossy substrate was mounted to an uncoated 90gsm paper, with both sides being printed with inkjet, so that the sculpture (gloss side) is presented with good depth of colour and detail preservation, and the essay (matte side) is easily readable. Other versions with a 115gsm inkjet coated paper, and a thicker uncoated paper were made. For commercial purposes the best combination would be the glossy sticky-back substrate mounted onto a thin inkjet coated paper.
		
        Strong RGB colours are contrasted to a stone grey throughout the inside pages, representative of the discussion on the contrast between older materials and artwork with new, digital material and methods of production.
		
        
	
	
	
		
&#60;img width="3382" height="4228" width_o="3382" height_o="4228" data-src="https://freight.cargo.site/t/original/i/29034a6f8c2299b5d07e10a4c9e3d54668b0b7722de8bd41f3a38cabe895e817/Poster-Stick.jpg" data-mid="106395974" border="0"  src="https://freight.cargo.site/w/1000/i/29034a6f8c2299b5d07e10a4c9e3d54668b0b7722de8bd41f3a38cabe895e817/Poster-Stick.jpg" /&#62;

        
&#60;img width="4989" height="3326" width_o="4989" height_o="3326" data-src="https://freight.cargo.site/t/original/i/0c02f672bab32db1cd14adedd4cea6dd8238b1486df4172ffad39be5dc200ca0/Pages-Flat.jpg" data-mid="106396334" border="0"  src="https://freight.cargo.site/w/1000/i/0c02f672bab32db1cd14adedd4cea6dd8238b1486df4172ffad39be5dc200ca0/Pages-Flat.jpg" /&#62;

        
&#60;img width="3724" height="2483" width_o="3724" height_o="2483" data-src="https://freight.cargo.site/t/original/i/227b04aff7b109838822e5b2a0a160c711efce295ac1acc08aeb43cbda21f6a9/S1.jpg" data-mid="106396325" border="0"  src="https://freight.cargo.site/w/1000/i/227b04aff7b109838822e5b2a0a160c711efce295ac1acc08aeb43cbda21f6a9/S1.jpg" /&#62;
&#60;img width="3693" height="2462" width_o="3693" height_o="2462" data-src="https://freight.cargo.site/t/original/i/5bc98ee6d4796b7bc857cb3202dd29a4594858fcb76e5f75daa902dca34cbc91/S2.jpg" data-mid="106396326" border="0"  src="https://freight.cargo.site/w/1000/i/5bc98ee6d4796b7bc857cb3202dd29a4594858fcb76e5f75daa902dca34cbc91/S2.jpg" /&#62;
&#60;img width="3748" height="2499" width_o="3748" height_o="2499" data-src="https://freight.cargo.site/t/original/i/38d769346b95fe5c7cf7d9283e10d0f81a61b70835977508c28150271f344f64/S34.jpg" data-mid="106396329" border="0"  src="https://freight.cargo.site/w/1000/i/38d769346b95fe5c7cf7d9283e10d0f81a61b70835977508c28150271f344f64/S34.jpg" /&#62;
&#60;img width="3692" height="2461" width_o="3692" height_o="2461" data-src="https://freight.cargo.site/t/original/i/582e6a471de56756f685d46b078b3d751d40cc2d43296e444d05ea1d9b9658f3/FCBC.jpg" data-mid="106396332" border="0"  src="https://freight.cargo.site/w/1000/i/582e6a471de56756f685d46b078b3d751d40cc2d43296e444d05ea1d9b9658f3/FCBC.jpg" /&#62;
&#60;img width="2262" height="2262" width_o="2262" height_o="2262" data-src="https://freight.cargo.site/t/original/i/a8471ae96a721ecb50fc45ddc34da18fa45f5b8ab66d8c17c92d2cab5c631667/FC-Stick.jpg" data-mid="106396333" border="0"  src="https://freight.cargo.site/w/1000/i/a8471ae96a721ecb50fc45ddc34da18fa45f5b8ab66d8c17c92d2cab5c631667/FC-Stick.jpg" /&#62;
&#60;img width="3500" height="4376" width_o="3500" height_o="4376" data-src="https://freight.cargo.site/t/original/i/8870075c837da4cf96a171a7f9b65f2fd76f31c72470cc9f290b7078609c972b/Poster-InkCoat.jpg" data-mid="106396335" border="0"  src="https://freight.cargo.site/w/1000/i/8870075c837da4cf96a171a7f9b65f2fd76f31c72470cc9f290b7078609c972b/Poster-InkCoat.jpg" /&#62;

		
	
	
</description>
		
	</item>
		
		
	<item>
		<title>Work</title>
				
		<link>https://tomwelsh.design/Work-1</link>

		<pubDate>Sat, 24 Apr 2021 15:32:54 +0000</pubDate>

		<dc:creator>Tom Welsh &#124; Junior Graphic Designer</dc:creator>

		<guid isPermaLink="true">https://tomwelsh.design/Work-1</guid>

		<description>



Hey! I’m Tom, a visual communications 
designer from Manchester


I aim for the work that I create to be both eye‑catching, and thought‑provoking.





Hey! I’m Tom, 
a visual communications 
designer from Manchester



I aim for the work that I create to be both 
eye‑catching, and thought‑provoking.

</description>
		
	</item>
		
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