Portfolio Project 3: Press Piece

charliegilding
Oct 29, 2025
15 min read

Updated: May 19

Imagining Contemporary Practice in the Graphic Arts

Objective & Outcome

Press Piece In this third part of the module you are asked to produce work that brings together your ideas from earlier projects, with the addition of a forward projection and declaration on which to base your future work. Your thoughts, ideas, your manifesto should be brought together in the form of a single sided newspaper advert. The taught sessions will include Typography Masterclasses, exercises to help you develop the content, together with technical workshops in In-Design. The design of your single sided newspaper advert will need to consider: language and tone, appropriateness of design for the subject, and of course, typography. It may be appropriate to include image/s, but these should be supporting elements, rather than the main feature. To prepare for the seminar on Wednesday 8 October, you should start by writing 300 -500 words on the personal rules and principles that shape your creative thinking. The exact form this takes is up to you. It could be: introduction and listed points; or written more autobiographically, but use the links below and your own research, to pitch your writing with the correct language and tone for your content. Print out a first draft, loosely designed document (or digital PDF) and bring to the session.

The principles that shape my creative thinking

Creativity for me, isn’t so much about the inspirations that drive me but is more about building a space where my ideas can develop over time. Below is a list of five rules and principles that I have developed to guide how I approach my work. These principles act as more of an anchor to help keep me grounded while nurturing my creativity and exploration.

1. Curiosity: All of my ideas stem from curiosity. I am a naturally curious person and have learned to nurture this and follow my curiosity in order to lead me to new places, thoughts and feelings. This means asking questions even when answers seem obvious and allowing myself to explore unrelated ideas.

2. Process: As part of my process I alway try to avoid looking as my work as a flawless piece or design, enjoying the process and understanding that my creativity thrives on imperfections. Drafts, sketches, and prototypes are ways to experiment, fail, and learn. The process itself often reveals directions I couldn’t have never predicted at the start.

3. Constraints: I try to view every constraint or limitation as a challenge that forces me into thinking outside of the box. Some of my best ideas have come from working within tight boundaries and push me towards being creative especially when working to a rigid or set brief.

4. Collaboration: As much as working ion solitude is always my go to way of working I often need to remind myself that Collaboration and feedback are essential parts of my process. Remembering to listen to the perspective of other always pushes me to develop my ideas further as well as inspiring me to take risk and ensure that an audience other than myself will be viewing my work.

5. Intuition: My intuition always guides my first creative impulses, but I need to keep it in the forefront of my mind to balance this with reflection and critical evaluation. I allow my instinct to lead me, then home to this in by applying structure to refine my ideas.

What is a Manifesto?

noun: manifesto; plural noun: manifestos

'a public declaration of policy and aims, especially one issued before an election by a political party or candidate'

Oxford Languages | 2025

A manifesto is fundamentally a public statement of beliefs, values, intentions, or principles, typically crafted to convey a clear vision or call to action. Artists, designers, and writers, in addition to political groups or movements, often use it to articulate their stance and reasons. Throughout this project, I aim to thoroughly explore and understand what a manifesto signifies for me in my design work, whether culturally or as a design process I adhere to.

Thappa, S. (2017). ekprayog maker down the rabbit hole. [Digital Poster]. ekprayogblog.wordpress.com [online] Available at: https://ekprayogblog.wordpress.com/2017/07/13/open-design-manifesto/ [Accessed 27 Oct. 2025].

Newspaper layout | Initial research

To start this project, I wanted to begin in probably the most obvious place by thoroughly examining newspapers that are readily available today. My primary focus was on how designers use available tools to convey the messages in editorial pieces, particularly how typography is employed to represent the story or express the tone and emotion of the piece. From my research, I observed that this isn't always a primary consideration for designs; instead, designers often prioritise legibility and impact. Both are, of course, important factors, and a common theme I noticed was how designers use scale to deliver impact in statements and highlight more important details. At this stage, I also noticed a general lack of colour, which surprised me since I often rely on it to help tell a story or draw the viewer's attention to more important aspects. I am looking forward to conducting further research into how type can be used to achieve the same level of impact in my work.

The Papers - BBC News. (n.d.). BBC News. [online] Available at: https://www.bbc.co.uk/news/topics/cpml2v678pxt?page=18.

Design style inspirations | Josef Müller-Brockmann

Josef Müller-Brockmann was a Swiss graphic designer and a leading pioneer of the International Typographic Style, renowned for his disciplined and rational approach to visual communication. He believed that design should be objective, functional, and guided by clarity rather than personal expression. His work utilised strict grid systems, mathematical proportions, and clean sans-serif typefaces to achieve order and visual harmony. For me, Müller-Brockmann served as a great inspiration to consider while developing my work for this project. I have always admired how he successfully communicated so much visually with what seemed like so little. As I consciously avoid imagery and focus solely on typography in my designs, this mathematically calculated use of grids and layout will undoubtedly play a significant role in ensuring that communication remains at the forefront of my designs.

Free the Birds. (2024). ‘Simplicity in structure’ the graphic design principles of Josef Müller-Brockmann. [online] Available at: https://freethebirds.com/thoughts/simplicity-in-structure-the-graphic-design-principles-of-josef-muller-brockmann/.

Grid Systems in Graphic Design by Josef Müller-Brockmann

While initially researching Josef Muller-Brockmann for design inspiration, I discovered a book by Muller-Brockmann in the Bower Ashton Library. "Grid Systems in Graphic Design" is essentially a visual communication guide for graphic designers, typographers, and three-dimensional designers. It delves deeply into the structural aspects of graphic design, exploring how layout enhances clarity in our work. Additionally, it examines typography and its role in conveying thoughts, feelings, and emotions to our audience.

Grid Systems in Graphic Design(1996). Josef Muller-Brockmann [online] Available at:https://www.theprintarkive.co.uk/ [Accessed 21 Nov. 2025].

As I embarked on this project, I was keen to consider how I would use grids to structure my design and enhance clarity for the reader. Knowing that this piece would be text-heavy, I believed this approach was crucial to prevent it from becoming overwhelming and unappealing. An especially interesting point from the reading was Muller-Brockmann's statement that 'Legibility is the result of the correct relationship between letters, words, and lines.' This serves as a reminder that while each design element is important on its own, it is the interplay between these features that truly unifies the design and provides depth and clarity.

While reflecting on how the integrated elements of my design will help me create a well-composed and legible piece, I found Muller-Brockmann's insights on typography particularly compelling. He believed that 'personal expression should be subordinated to the overall design problem,' which resonated with me. It reminded me that exercising restraint and opting for neutral typographic choices can often be the most effective way to prioritise communication in design.

Layout experimentation | Initial ideas

While considering where to start with this project, I wanted to explore some more generic newspaper layouts to understand how many designers utilise the available space to present information. After initially drafting my own overall newspaper layout, I aimed to experiment with presenting information clearly while also making the paper more interesting and eye-catching. At this point, avoiding images felt challenging, as they are usually my go-to for attracting and capturing an audience's attention. However, since this is a press piece, I decided to try captivating the audience through typography and text. In this first draft, I focused on listing the five key points of my manifesto and used size and color to emphasise certain aspects.

Thinking with Type | Ellen Lupton

In "Thinking with Type," Lupton delves into various concepts surrounding typography, with a particular focus on hierarchy and its role in organising content and guiding the reader’s attention. This intrigued me to explore how I could emphasise certain elements in my work using size, weight, spacing, position, and color. Another crucial insight from "Thinking with Type" is Lupton's emphasis that "Good typography disappears; it supports reading instead of drawing attention to itself." This was a new perspective for me, as I typically viewed elements like titles more as illustrations rather than as text that should prioritise conveying the message over the text itself.

Exploration of Typography | Initial experimentation

For a project like this, which focused purely on text, I found there were no boundaries to my use of typography. However, I aimed to avoid generic newspaper-style fonts that might appear old-fashioned and dull. That said, throughout my design career, these more classic typefaces have often seemed to provide the clearest communication for the viewer. Before advancing my ideas further, I wanted to select a few fonts to work with ones that offered clear legibility while also adding a modern touch to my piece. Ultimately, I wanted to convey my personal design style: something clean, structured, and methodical, yet still visually striking and dynamic.

Press Piece | Layout development

The above images represent my first genuine attempt at integrating my design manifesto into a single-sided newspaper advertisement. After presenting these initial drafts at the first MA Design Communications critique, peer feedback made me realise that I might have misunderstood the brief or wasn't fully utilising the space's potential, as I had developed more of a newspaper page rather than an advert. Although I believe the design still functioned as a standalone ad in a newspaper, it prompted me to consider conducting further research into advertisements directly. I decided to design a few more drafts that were more eye-catching and dynamic, rather than something typically seen when opening a newspaper.

Newspaper adverts | Initial research

Myhoardings.com. (2019). Times Of India Newspaper Ad Booking Online Cost| MyHoardings. [online] Available at: https://www.myhoardings.com/Non-Traditional/Times-Of-India-13181 [Accessed 21 Nov. 2025]. — Myhoardings.com. (2019). *Times Of India Newspaper Ad Booking Online Cost| MyHoardings*. [online] Available at: https://www.myhoardings.com/Non-Traditional/Times-Of-India-13181 [Accessed 21 Nov. 2025].

Upon examining what newspaper advertisements achieve within the available space, I noticed several factors. Firstly, the designer made effective use of the limited space, as seen in the example image where the designer worked within a relatively small area on an A3 spread. This meant they generally kept the text to a minimum and increased the size of headings and key information, using a simple colour palette to draw attention to certain aspects. A few considerations from my research include the minimal use of illustrations or images in these ads; many designers use these elements as supporting factors, like a background, to add depth to the design. It's important to remember that many examples I've reviewed were on a smaller scale within a newspaper spread surrounded by text. My design will occupy a whole single-sided newspaper page, likely on an A3, allowing for more information to be displayed without it feeling lost.

Conveying emotion through typography

While considering how I might use typography in my final design, I wanted to keep in mind what I would be conveying through this piece. Although I aimed to communicate my design manifesto, I also intended for my use of type to reflect what I was explaining, providing the viewer with insight into my motivations as a designer before they read the words on the page. Generally, I consider myself a calculated and organised designer, and I wanted this element to be represented in my final design, giving the viewer a sense of calm and structure in the piece.

Design style Inspiration | Jonathan Barnbrook

Jonathan Barnbrook is a British graphic and type designer recognised for his daring, politically engaged, and concept-driven design approach. He employs typography as a means of social commentary, frequently crafting typefaces and visuals that challenge cultural norms, authority, and consumerism. Barnbrook’s work combines sharp, modern aesthetics with provocative messages, making his designs both visually striking and intellectually challenging. A theme I find particularly fascinating in Barnbrook's work is his use of grids in a collage style, providing his designs with a clear structure in an unconventional manner. This collage-style layering of text is what I believe makes Barnbrook's work visually intriguing. I am eager to explore this technique further and see how I can incorporate it into my own work.

The Reykjavik Grapevine. (2016). From Iceland — Jonathan Barnbrook On Iceland, Japan, Working With Bowie. [online] Available at: https://grapevine.is/icelandic-culture/design/2016/03/15/bowie-collaborator-jonathan-barnbrook-comes-to-iceland/.

Making and breaking the grid | Timothy Samara

Before finalising my design, I conducted some research on grids and guides to understand how I could use them in the future. I found Timothy Samara's "Making and Breaking the Grid" particularly intriguing. In this work, Samara discusses how grids should be viewed as flexible frameworks rather than strict rules, stating they are meant to "guide layout but not guarantee great design on their own." This highlights the importance of balancing systematic structure with creative freedom. I especially appreciated Samara's perspective on the use of grids in contemporary practice, demonstrating their continued relevance across all media, particularly in digital design. The principles have evolved to support more fluid interfaces. After mastering grids, Samara explores ways designers can intentionally break them, disrupting order to create expressive, unexpected, and dynamic layouts. As a designer, I found this approach inspiring and felt motivated to incorporate it into my work. Although I have always focused on order, structure, and balance in my designs, I like the idea of adding elements that make my work distinctive without losing its communicative essence.

Samara, T. (2023) Making and Breaking the Grid: A Graphic Design Layout Workshop. 3rd ed. : Rockport Publishers.

Grid / Layout experimentation

Before developing some of my initial ideas, I wanted to create a range of grids and guides that I could loosely build upon and develop designs around. My intention at this stage was to use these grids as starting points. After researching existing manifesto designs, I felt this approach could effectively stimulate my creativity and help me implement my own ideas. While I planned to use these grids to structure my designs, I kept in mind that they were merely starting points and didn't necessarily need to be adhered to strictly if the design wasn't resonating or working within this framework. Some of these initial grids and guides can be seen in my first drafts in the next section.

The Graphic Design Bible | Theo Inglis

While contemplating how to translate my ideas onto paper, I read "The Graphic Design Bible" by Theo Inglis. I focused particularly on the section about editorial design from pages 270 to 275. This section generally discusses how designers compile information from various authors, specifically addressing the balance between text and images. I found this useful to consider because, although I wasn't specifically planning to include images in my work, I often treat titles and bolder headings more like individual illustrations rather than just text.

Press Piece | Initial design ideas

After conducting further research by directly examining newspaper advertisements instead of full page spreads, I felt more inspired by the possibilities beyond a strictly uniform, text-heavy layout. By introducing some colour into my design, I began experimenting with different typefaces to attract readers and emphasise certain elements. Keeping the colour palette fairly simple actually benefited the design, in my opinion, allowing titles and key parts of my manifesto to stand out in white, while gap fillers and subheadings were placed in a darker red. This not only filled space effectively but also maintained visual appeal without overshadowing more important elements. For the typefaces, I changed the font of each title to reflect the content of that section. Overall, I was very pleased with this initial idea, although I felt there was potential for further development, especially regarding layout. Working with a fairly standard 6x6 grid in InDesign, I realised this would have been a great opportunity to experiment with different layouts before proceeding with my final design.

Here are several mockup designs illustrating how my concepts translate into a printed format. This test was conducted solely to evaluate whether my use of typography and layout achieved the intended effects. I believe the combination of different typefaces worked particularly well, as it effectively distinguished the sections of text. This experiment was intriguing in exploring how a text-heavy design could function as a cohesive piece. Moving forward, I will focus on how the different typefaces complement each other. In some test designs, I noticed that certain titles stood out more than others. While the intentional chaos came together well, I need to ensure it doesn't compromise legibility.

Typography research | Nexa

I opted for Nexa due to its strong focus on clear communication and legibility, which were crucial for this project. Its geometric design and balanced proportions offer a sense of order and consistency, which I highly appreciate when dealing with text-heavy content. The open forms and uniform stroke weights enhance readability without detracting from the message. I was also attracted to Nexa’s universal and neutral character, as it seamlessly adapts to various contexts and pairs well with a wide array of other fonts, making it both flexible and dependable within a larger typographic system.

At first, I was slightly worried that Nexa might be too conventional and could be seen as dull or uninteresting due to its neutral and minimalistic nature. However, as I progressed with my work, I realised that emphasising legibility and clear communication was more important than choosing a typeface with a strong or distracting personality. Nexa’s simplicity turned into an asset rather than a drawback, providing a solid base that kept the content clear and accessible. I decided to continue using this typeface, concentrating instead on creating visual interest and impact through the use of scale, weight, and orientation. By adjusting these typographic elements, I was able to introduce variation and hierarchy while maintaining consistency and readability throughout the work.

Typography research | Helvetica

I opted to pair Helvetica with Nexa because of its strong reputation for clarity, neutrality, and effective communication. The clean, sans-serif letterforms and uniform stroke weights of Helvetica make it highly readable, especially in text-heavy layouts where clarity is crucial. Its structured and systematic design supports a clear hierarchy, guiding the reader through information effortlessly. I also appreciated Helvetica's universal appeal, as it is widely recognised and trusted, allowing it to blend seamlessly with other typefaces while maintaining a professional and functional tone throughout my work.

Much like Nexa, I initially worried that Helvetica might be seen as a safe or overused typeface, potentially lacking personality or visual interest. However, I concluded that its neutrality was advantageous, as it emphasises the content rather than the typeface itself. Legibility remained a top priority, particularly when handling large volumes of text, and Helvetica's clarity made it a dependable choice.

Final design development

My initial draft for my press piece featured a simpler design that emphasised communication over visual elements. I generally felt this approach worked well and produced an interesting result that effectively conveyed the message I intended. However, there were a few aspects that didn't quite work for me. The primary issue was the blank spaces around the text, which I felt disrupted the flow and didn't contribute to the overall piece. Although I'm usually not afraid of empty areas in a design, in this case, it seemed ineffective. Consequently, I added space fillers as an afterthought, resulting in a significant portion of the final design being occupied by visual illustrations that weren't truly related to the overall design.

As I move this design to the next stage of development, there are definitely a few aspects to consider. Generally, my use of text and typography was effective, conveying the clear and structured emotion I aimed for while maintaining legibility. The colour scheme also worked well, helping to avoid making the design more complicated than necessary. However, I will focus on restructuring the design and adhering more strictly to my grid to enhance the hierarchy and importance of the categories within my design.

Final design | Press Piece

My final design was something I felt worked well as a design piece, effectively communicating the five key principles that I believe influence my creative thinking. With this end design, I aimed to focus on how to present this text-heavy work without overwhelming the audience. I feel that the result was successful, largely due to my earlier research into Joseph Müller-Brockmann and Timothy Samara. The research I conducted on these designers provided me with interesting ideas to consider, particularly regarding typography and grids. Previously, I relied heavily on grids to structure my work, but at this stage, I began to view them more as a tool rather than something to adhere to rigidly. This approach helped me consider how certain aspects fit best within the overall piece and even allowed me to incorporate elements that didn't necessarily conform to the grid but added depth to my work.

Regarding my approach to typography, I embraced Joseph Muller-Brockmann's concept of keeping typography intentionally simple, prioritising communication over visual flair. By combining Nexa and Helvetica, I achieved a design that is clear and easy to read without feeling cluttered. The subtle differences between Helvetica and Nexa greatly assisted in emphasising specific information and directing the reader's attention to titles and subtitles. Nexa generally stood out more for titles, offering a more effective bold option compared to Helvetica, and its tighter character spacing worked well when enlarged. Although I often avoid Helvetica due to its common use in many designs, it was intentionally chosen for its unparalleled clarity and legibility on screen, ensuring the focus remains on effective communication in a text-driven design rather than expressive typography.

After incorporating my completed design into a newspaper mock-up using Adobe Photoshop, I felt that viewing the design in a 3D element generally worked well as a piece meant to occupy a full A3 page in a newspaper. To me, the design appeared bold and eye-catching, yet the minimal use of colours did not make it feel overwhelming or out of place in the final design. I also added some rough text on the opposite page to get a sense of how my design would look when combined with other media or generally text-heavy pieces, as would be expected in a newspaper or magazine. This generally reinforced my belief that the design worked well and could stand out on its own even among other text-heavy pieces. This consideration influenced my choice of colours in the final design. Working with a fairly simplistic colour palette is not something I would typically do in a piece like this. However, part of my reasoning for using a range of muted pastel reds was to ensure the design would stand out in a real-life newspaper or magazine scenario, which would likely feature text-heavy pages in black and white. Reflecting on the design, I believe it achieved the desired effect without making the text feel lost or less prominent, a risk I was aware of. Generally, I could have opted to use different colours for titles or body text to aid legibility and differentiation, something I would potentially explore further if given more time for experimentation.