Hilary Grainger ... Artwork

In an attempt to enrich my supplyer resources .. I managed to contact Mrs. Grainger, who went back to school to study art in her 70s, gaining a degree in fine arts from Guildhall University.
Hilary invented a unique method of art expression 'Vibragraphics' a form of etching created by the movement of the tube train, by holding the etching pen over the metal plate to accept the vibration, creating surprising art.















Hilary's work of art was put on show in the Royal Academy of Arts summer exhibition.

currently Mrs. Grainger is at home coping with old age health problems, but is still motivated to create etched paintings , plus taking orders for creating water & poster color personal cards which each one is a pieces of art on it's own.

Understanding the role of a website that promots a Crafts outlet

As part of the Branding package I'll be Designing for the Crafts out let will be a website that promotes the value of hand made crafts also the crafts men and women and the objects that will be soled.

Usability and the utility, not the visual design, determine the success or failure of a web-site. Since the visitor of the page is the only person who clicks the mouse and therefore decides everything, user-centric design has become a standard approach for successful and profit-oriented web design. After all, if users can’t use a feature, it might as well not exist.



The main principles, heuristics and approaches for effective web design — approaches which, used properly, can lead to more sophisticated design decisions and simplify the process of perceiving presented information.
In order to use the principles properly we first need to understand how users interact with web-sites, how they think and what are the basic patterns of users’ behavior.

How do users think?

Basically, users’ habits on the Web aren’t that different from customers’ habits in a store. Visitors glance at each new page, scan some of the text, and click on the first link that catches their interest or vaguely resembles the thing they’re looking for. In fact, there are large parts of the page they don’t even look at.

Most users search for something interesting (or useful) and clickable; as soon as some promising candidates are found, users click. If the new page doesn’t meet users’ expectations, the Back button is clicked and the search process is continued.

* Users appreciate quality and credibility. If a page provides users with high-quality content, they are willing to compromise the content with advertisements and the design of the site. This is the reason why not-that-well-designed web-sites with high-quality content gain a lot of traffic over years. Content is more important than the design which supports it.

* Users don’t read, they scan. Analyzing a web-page, users search for some fixed points or anchors which would guide them through the content of the page.



Notice how “hot” areas abrupt in the middle of sentences. This is typical for the scanning process.

The F-Shaped Pattern For Reading Web Content
Eyetracking visualizations show that users often read Web pages in an F-shaped pattern: two horizontal stripes followed by a vertical stripe.

* Web users are impatient and insist on instant gratification. Very simple principle: If a web-site isn’t able to meet users’ expectations, then designer failed to get his job done properly and the company loses money. The higher is the cognitive load and the less intuitive is the navigation, the more willing are users to leave the web-site and search for alternatives.

* Users don’t make optimal choices. Users don’t search for the quickest way to find the information they’re looking for. Neither do they scan web-page in a linear fashion, going sequentially from one site section to another one. Instead users satisfice; they choose the first reasonable option. As soon as they find a link that seems like it might lead to the goal, there is a very good chance that it will be immediately clicked. Optimizing is hard, and it takes a long time. Satisficing is more efficient.



Both pictures show: sequential reading flow doesn’t work in the Web. Right screenshot on the image at the bottom describes the scan path of a given page.

* Users follow their intuition. In most cases users muddle through instead of reading the information a designer has provided. According to Steve Krug, the basic reason for that is that users don’t care. “If we find something that works, we stick to it. It doesn’t matter to us if we understand how things work, as long as we can use them.

* Users want to have control. Users want to be able to control their browser and rely on the consistent data presentation throughout the site. E.g. they don’t want new windows popping up unexpectedly and they want to be able to get back with a “Back”-button to the site they’ve been before.

Now .. back to ...

The main principles for effective web design:

1. Don’t make users think
First law of usability, the web-page should be obvious and self-explanatory. When you’re creating a site, your job is to get rid of the question marks — the decisions users need to make consciously, considering pros, cons and alternatives.
If the navigation and site architecture aren’t intuitive, the number of question marks grows and makes it harder for users to comprehend how the system works and how to get from point A to point B. A clear structure, moderate visual clues and easily recognizable links can help users to find their path to their aim.
By reducing cognitive load you make it easier for visitors to grasp the idea behind the system. Once you’ve achieved this, you can communicate why the system is useful and how users can benefit from it.



2. Don’t squander users’ patience

In every project when you are going to offer your visitors some service or tool, try to keep your user requirements minimal. The less action is required from users to test a service, the more likely a random visitor is to actually try it out. First-time visitors are willing to play with the service, not filling long web forms for an account they might never use in the future. Let users explore the site and discover your services without forcing them into sharing private data. It’s not reasonable to force users to enter an email address to test the feature.

3. Manage to focus users’ attention

As web-sites provide both static and dynamic content, some aspects of the user interface attract attention more than others do. Obviously, images are more eye-catching than the text — just as the sentences marked as bold are more attractive than plain text.

The human eye is a highly non-linear device, and web-users can instantly recognize edges, patterns and motions. This is why video-based advertisements are extremely annoying and distracting, but from the marketing perspective they perfectly do the job of capturing users’ attention.
Focusing users’ attention to specific areas of the site with a moderate use of visual elements can help your visitors to get from point A to point B without thinking of how it actually is supposed to be done. The less question marks visitors have, the better sense of orientation they have and the more trust they can develop towards the company the site represents. In other words: the less thinking needs to happen behind the scenes, the better is the user experience which is the aim of usability in the first place.



www.humanized.com .. perfectly uses the principle of focus. The only element which is directly visible to the users is the word “free” which works attractive and appealing, but still calm and purely informative. Subtle hints provide users with enough information of how to find more about the “free” product.

4. Strive for feature exposure

Modern web designs are usually criticized due to their approach of guiding users with visually appealing 1-2-3-done-steps, large buttons with visual effects etc. But from the design perspective these elements actually aren’t a bad thing. On the contrary, such guidelines are extremely effective as they lead the visitors through the site content in a very simple and user-friendly way.



Dibusoft.com combines visual appeal with clear site structure. The site has 9 main navigation options which are visible at the first glance.

Letting the user see clearly what functions are available is a fundamental principle of successful user interface design. It doesn’t really matter how this is achieved.

5. Make use of effective writing

As the Web is different from print, it’s necessary to adjust the writing style to users’ preferences and browsing habits. Promotional writing won’t be read. Long text blocks without images and keywords marked in bold or italics will be skipped. Exaggerated language will be ignored.

Talk business. Avoid cute or clever names, marketing-induced names, company-specific names, and unfamiliar technical names. For instance, if you describe a service and want users to create an account, “sign up” is better than “start now!” which is again better than “explore our services”. What matters is that the content is well-understood and visitors feel comfortable with the way they interact with the system.



www.eleven2.com gets directly to the point. No cute words, no exaggerated statements. Instead a price: just what visitors are looking for.

An optimal solution for effective writing is to

* use short and concise phrases (come to the point as quickly as possible),
* use scannable layout (categorize the content, use multiple heading levels, use visual elements and bulleted lists which break the flow of uniform text blocks),
* use plain and objective language (a promotion doesn’t need to sound like advertisement; give your users some reasonable and objective reason why they should use your service or stay on your web-site)

6. Strive for simplicity

The “keep it simple”-principle (KIS) should be the primary goal of site design. Users are rarely on a site to enjoy the design; furthermore, in most cases they are looking for the information despite the design. Strive for simplicity instead of complexity.
From the visitors’ point of view, the best site design is a pure text, without any advertisements or further content blocks matching exactly the query visitors used or the content they’ve been looking for. This is one of the reasons why a user-friendly print-version of web pages is essential for good user experience.



Finch clearly presents the information about the site and gives visitors a choice of options without overcrowding them with unnecessary content.

7. Don’t be afraid of the white space

Actually it’s really hard to overestimate the importance of white space. Not only does it help to reduce the cognitive load for the visitors, but it makes it possible to perceive the information presented on the screen. When a new visitor approaches a design layout, the first thing he/she tries to do is to scan the page and divide the content area into digestible pieces of information.

Complex structures are harder to read, scan, analyze and work with. If you have the choice between separating two design segments by a visible line or by some whitespace, it’s usually better to use the whitespace solution.

8. Communicate effectively with a “visible language”

Effective visual communication are three fundamental principles involved in the use of visible language, the content users see on a screen.

* Organize: provide the user with a clear and consistent conceptual structure. Consistency, screen layout, relationships and navigability are important concepts of organization. The same conventions and rules should be applied to all elements.

* Economize: do the most with the least amount of cues and visual elements. Four major points to be considered: simplicity, clarity, distinctiveness, and emphasis. Simplicity includes only the elements that are most important for communication. Clarity: all components should be designed so their meaning is not ambiguous. Distinctiveness: the important properties of the necessary elements should be distinguishable. Emphasis: the most important elements should be easily perceived.

* Communicate: match the presentation to the capabilities of the user. The user interface must keep in balance legibility, readability, typography, symbolism, multiple views, and color or texture in order to communicate successfully. Use max. 3 typefaces in a maximum of 3 point sizes — a maximum of 18 words or 50-80 characters per line of text.

9. Conventions are our friends

Conventional design of site elements doesn’t result in a boring web site. In fact, conventions are very useful as they reduce the learning curve, the need to figure out how things work. For instance, it would be a usability nightmare if all web-sites had different visual presentation of RSS-feeds. That’s not that different from our regular life where we tend to get used to basic principles of how we organize data (folders) or do shopping (placement of products).

With conventions you can gain users’ confidence, trust, reliability and prove your credibility. Follow users’ expectations — understand what they’re expecting from a site navigation, text structure, search placement etc.



10. Test early, test often

TETO-principle should be applied to every web design project as usability tests often provide crucial insights into significant problems and issues related to a given layout.

Test not too late, not too little and not for the wrong reasons. In the latter case it’s necessary to understand that most design decisions are local; that means that you can’t universally answer whether some layout is better than the other one as you need to analyze it from a very specific point of view (considering requirements, stakeholders, budget etc.).

Some important points to keep in mind:

* Testing one user is 100% better than testing none and testing one user early in the project is better than testing 50 near the end. Accoring to Boehm’s first law, errors are most frequent during requirements and design activities and are the more expensive the later they are removed.

* testing is an iterative process. That means that you design something, test it, fix it and then test it again. There might be problems which haven’t been found during the first round as users were practically blocked by other problems.

* usability tests always produce useful results. Either you’ll be pointed to the problems you have or you’ll be pointed to the absence of major design flaws which is in both cases a useful insight for your project.

* A developer is unsuited to test his or her code. This holds for designers as well. After you’ve worked on a site for few weeks, you can’t observe it from a fresh perspective anymore. You know how it is built and therefore you know exactly how it works — you have the wisdom independent testers and visitors of your site wouldn’t have.

Bottom line: if you want a great site, you’ve got to test.

References:

* Designing Effective User Interfaces by Suzanne Martin
* Summary on Web Design
* UID presentation (Flash)
* Research-Based Web Design & Usability Guidelines
* “The psychology of computer programming” by Gerald Weinberg
* “Designing Web Usability” by Jakob Nielsen [JN / DWU]
* “Prioritizing Web Usability” by Jakob Nielsen
* “Don’t Make Me Think” by Steve Krug
* “Usability for the Web: Designing Web Sites that Work”
by Tom Brinck, Darren Gergle, Scott Wood
* A Summary of Principles for User-Interface Design

Jeweller .. Morag Vangeyzel

Morag Vangezel is a home based jeweller with artistic creations of various earrings, pendants and necklaces in porcelain, fine silver, semi precious stones and Dichronic glass. Morag's passion for making small patterns accompanies her all through her art work, inspired by her surroundings, what ever catches her eye and fineds it attractive.It's a hobby funded by herself and her husband who has a job that supports the family.



Marketing solutions include:
- Open studios at art centers.
- Art center publications.
- Book of addresses.
- Already sells in a gift shop some of her work.
- willing to collaborate with out let project.

Comments ..

Mrs. Morag mentioned something very interesting, when it's a hobby .. it's made with care and love , when turning it into a business it will effect the final quality .. in order to make it approachable for the customer.
Morag does not vote for turning a hobby into a business.







As a child, Morag always liked to help her father fix cars, she loved working with her hand and making things like:
* Kiniting
* Patchwork
* Doveys with embroidery
* Plaster christmas decorations
* card making
* Pottery ... etc.

The Woven Interaction of different Craft based Businesses

Key messages ...

Businesses that wish to build effective long-term partnerships with arts organisations and schools should consider the following.

* Be more than just a sponsor

Provide direction, advice and practical support in our areas of expertise, as well as funding.

* Communicate regularly with your partners

Be on hand to communicate with partners when they need support and have one point of contact that they can get to know well. Building good relationships will generate greater commitment from all involved.

* Don't be too prescriptive

Make objectives clear, but trust the arts organisations to plan the detail of what to do with the support we provide. This will free them to be creative and innovative.

* If possible, make a long-term commitment

By giving arts organisations three years of funding, this enables them to develop long-term relationships with schools and plan their work strategically.

* Think sustainability

Factor into our plans the sustainability of the improvements beyond the project itself. By working with and supporting teachers as well as pupils the impact and reach of your initiative will be far greater.

* Create a team approach

If we are in a partnership with several different arts organisations, we must consider bringing them together to share their experiences and practice. This particularly valuable.

* Enlist other support

By strengthening the education activities, by working with organisations such as Arts & Kids, Community Service Volunteers and individuals.

Practice makes perfection

About QCA

A public body, sponsored by the Department for Children, Schools and Families (DCSF)
They are committed to building a world-class education and training framework, develop and modernise the curriculum, assessments, examinations and qualifications.

Working closely with government and other agencies to lead the reform of educational programmes, develop and review the National Curriculum, and work on initiatives.
Also provide guidance and support to equip learners, teachers and employers with the skills and knowledge they need.





crafts have a place in the national curriculum

Unlocking creative potential

Art and design gives pupils hands-on experience of the creative and cultural industries, challenging them to unearth and express ideas. As pupils discover their creative potential, they begin to create opportunities for themselves - in their present and future lives.

Art and Craft classes aimed to introduce pupils to a range of cultures from all over the world, To learn and celebrate different cultures by participating in, sharing and experiencing a range of activities, learnt about the historical background of a range of crafts and were shown the craft skills, To respect the cultural heritage and traditions of others.
This is an enjoyable and popular class where the pupils worked collaboratively, developed their social skills and experienced new tastes.

QCA produces resources to support the teaching of art and design in secondary schools.

QCA has published a new programme of study for art and design at key stage 3 for implementation from September 2008 for year 7, to help schools develop a world-class secondary curriculum for the 21st century.





ARTS alive

Is the outcome of a QCA curriculum development project set up to identify ways in which the contribution of the arts to pupils' education can be maximised. It is designed for use by headteachers, arts subject leaders, school governing bodies and practitioners, arts organisations and supporting businesses.

Why invest in the arts?

Investing in the arts can transform schools. The arts can raise standards, change attitudes, improve behaviour and increase the quality of teaching and learning. These are the key messages to come out of research that QCA has been carrying out over the past three years. This section of the website takes a closer look at how developing the arts can:

* enhance and enrich pupils' education
* contribute to school improvement
* improve links with the community and contribute to the economy.

Research showed that the arts -- art and design, really do make a difference to schools. The schools involved in the research believe that the arts are not only important in their own right, but that they can also play a major part in school improvement. All of the schools now want to give the arts greater emphasis.
All of the schools involved in the research were very pleased that they had invested in the arts. Their only regret was that they hadn't done so sooner.

Investing in the arts can transform pupils' educational experience. The arts:

* stimulate total involvement and commitment from pupils;
* enable all pupils to succeed and develop self-esteem;
* show that learning can be fun;
* encourage respect for other people's contributions;
* challenge pupils to consider complex issues, thoughts, feelings and actions;
* help pupils to think in different ways and to use different forms of intelligence.

All of these factors can raise pupils' attainment across the curriculum, improve their attitudes to learning and improve their behaviour. This, in turn, contributes to school improvement.

The arts are also vital in their own right. Effective teaching and learning in the arts helps pupils to:

* engage with a variety of artforms, giving them an opportunity to explore different thoughts and feelings, and to develop their own interests;
* develop artistic skills, knowledge and understanding, so that they can make and respond to artworks and access a range of arts-related careers;
* increase their cultural understanding by exploring and challenging values and meanings;
* share arts experiences and develop their social skills, sensitivity and sense of responsibility;
* become discriminating arts consumers and contributors in life beyond school.

These points, recognised by a wide range of artists and educationalists, form the basis of an agreed set of aims for arts education.

The arts, the community and the economy

This was not the main focus of QCA's arts curriculum development project. Further work is now taking place and findings will be added to this section of the website.

However, work so far has indicated that effective teaching and learning in the arts can:
* forge successful links between the school and the community;
* increase quality of life and support for cultural experiences;
* contribute to the development of:

The creative industries and the economy.

Pupils with arts skills and knowledge can actively look for employment in the arts and creative industries when they leave school. This spans everything from acting, painting, writing, dancing, architecture, fashion and design, to film, digital media, television, broadcasting and advertising.

The creative industries have a turnover of around £60 billion and employ more than 1.4 million people. They are one of the fastest areas of growth in the UK economy.

There are more opportunities in the arts now than ever before. Pupils need to be given information about the wide range of arts-related careers, so they can make informed choices.

Quality of life and support for cultural experiences

The arts make a major contribution to quality of life for many people.
Beyond school, the arts can:

* provide leisure and entertainment;
* explore personal and social issues;
* provide opportunities for lifelong learning;
* improve the quality of the environment;
* have a positive impact on physical and mental well-being;
* contribute to economic and social regeneration.

The arts are not an elitist activity. In the latest national survey carried out by Arts Council England, 'Arts in England: attendance, participation and attitudes in 2001' (PDF 371Kb), 73% of the people interviewed (over 6,000) believed that the arts play an important role in the life of the country. More than three-quarters of the adults interviewed had attended at least one arts event in the past year.

Partnership projects







This section of the research focuses on how businesses, arts organisations and schools can work together to:

* enhance and extend arts experiences for pupils and teachers
* increase pupils' engagement with the arts and develop their cultural awareness
* improve pupils' learning, attitudes and behaviour.

It is based on the findings of the Living Arts Evaluation, which looked at how schools, arts organisations, Deutsche Bank and The Prince of Wales Arts & Kids Foundation have been working together on arts-related projects. By sharing their experiences, the aim is to help other schools, organisations and businesses build effective partnerships in the future.

Although the evaluation was based on long-term projects (mostly run with schools over a term or more), many of the messages that emerged from the work can be applied equally well to shorter projects.

The evaluation process was supported by The Prince of Wales Arts & Kids Foundation, which is an initiative of Arts & Business and works to encourage best practice in arts education programmes supported by business.

Key messages for arts organisations

Arts organisations receiving corporate funding for long-term projects with schools need to plan carefully to ensure that their work is effective. The Living Arts Evaluation showed that arts organisations' projects have most impact when they do the following.

Communicate well with teachers

This is essential for all projects, especially those that are long term. Talk to teachers:

* before the project – to find out their pupils' needs and plan the work together
* during the project – to check on progress and change plans if necessary
* after the project – to evaluate the work.

Communicate face-to-face as well as by phone and email. You'll need to find out what works best for each school.

Make sure you are easy for schools to contact

Supply phone numbers, fax numbers, email addresses, and, where possible, mobile numbers. Let schools know when you are likely to be available.

Communicate well as an education team

The most creative, powerful work with schools takes place in teams with a strong sense of purpose and a high profile in the organisation as a whole.

Offer schools bespoke projects

If you have pre-designed projects, tailor them to meet individual school's needs. Listen to what the school wants to achieve, help it to identify its objectives, and then plan a project to meet these objectives. Encourage it to consider wider school improvement aims (such as improving pupils' behaviour and attendance), as well as pupils' arts learning.

Visit the school before the project

In a long-term project, visiting the school gives you an opportunity to get to know the environment, staff and pupils. You could make this visit part of the project planning process. It is particularly important to see the space and facilities for any in-school workshops.

Make sure that teachers understand the work

If a number of teachers are going to be involved in a project, make sure that they all understand practical arrangements and the objectives of the work. If you run an INSET session or hold a briefing meeting, make sure that as many of the teachers as possible will be able to attend.

Be flexible

Find out about any practical constraints that might affect the work and go out of your way to meet the school's concerns (such as timescales and working space).

Use expert practitioners well

Make good use of expert practitioners to inspire and inform both pupils and staff. Try to find the right practitioner to meet each school's specific needs and make sure that you brief them well so that they understand the project and the school. Offer practitioners training and evaluate their work regularly to ensure the quality of what they do.

Work in and out of school

In long-term projects, combine workshops in school with visits to your organisation wherever possible. Pupils tend to be more relaxed and open in their own environment, while a visit to an organisation can be inspirational and memorable.

Evaluate and improve your practice

Make sure you have good procedures in place for collecting feedback from teachers and pupils and using it to improve your practice in the future.

Build long-term relationships with schools

Working in partnership with business gives you a valuable opportunity to devote resources to building long-term relationships with individual schools. Getting to know teachers well means that you can meet their needs more closely. In turn, they will be able to give you ongoing (and probably more direct) feedback on your practice as an organisation.

The Psychology of Marketing .. The Plan .. How to convince the buyer .. and sell more

What is Psychology?

Psychology is a diverse field that encompasses the study of mind, brain and human behavior, and social interactions.
To answer these questions, psychologists engage in experimentation and case studies of both normal and abnormal populations (including animals!). The results of this work is applied in a variety of fields such as education, business (e.g. human resources, marketing, management, etc.), law, medicine, and in other scientific disciplines, to name a few. Furthermore, clinical psychology concerns itself with psychotherapy and the treatment of psychological disorders.

The Marketing Plan

It takes some knowledge of basic psychology and human behavior to succeed at marketing. People buy things to either meet their needs or satisfy their wants and desires.

The psychology of marketing is really all about consumer behavior. In other words, businesses and marketers are most interested in the psychology behind the decision-making that consumers go through before they take out their wallets or their credit card and purchase their product. Businesses who succeed well in any economy are those who understands the psychology behind the marketing.



The study of consumers helps to improve the marketing strategies of businesses and means that they look to understand how consumers think, feel and reason when they are presented with a selection of different alternatives.
It is important to understand what triggers will be most important for the particular target customers when developing a marketing plan.
There are target customers more interested in price, or more concerned with service or reliability. A company will be able to adequately develop a marketing plan and garner the majority of the market by researching these elements.

The behavior of the customer is the basis of marketing psychology. This study of individuals or groups and the processes they use to select, use or dispose of products and services is really the basis of marketing psychology.



By fully understanding these criteria and developing a market strategy for campaigns marketing specialists are able to increase the bottom line for the companies with whom they work.
For example:
by understanding that consumers are more receptive to advertising about food and snacks when they are hungry marketing specialists have learned to schedule a snack advertisements for late in the afternoon. By understanding that this at the end of a shopping trip mothers are more interested in keeping their children from crying and then in maintaining a nutritional base grocery stores plays snack foods, candy and gum in the checkout aisles.

Consumers are also influenced by their environment such as their culture, family and the media. By understanding this influence and incorporating it into their own marketing plan businesses are better able to place themselves in front of their target customers in such a fashion that the customer has no other choice but to purchase their products.

Depending upon the age of the products and companies there may be limitations to the consumer knowledgebase or even the ability of the consumer to process information. Consumers also have specific behaviors when shopping or making other marketing decisions that all must be rolled into the development of a marketing plan for specific products.



As marketers, we are looking not at what your product has to offer, but at what is motivating your target audience to buy your product or service.

For example, people aren't buying perfume because of the aroma. They are buying romance. The new exercise machine doesn't sell because of the latest features, but because the customer is buying a healthier, perhaps thinner look.
The end result of a product or service is what it does for buyers — how it makes them feel, look, or act. Even children are looking to have the same games as their friends, not just to play with, but to be popular and fit in. Therefore, you need to keep broad motivational reasons in mind when planning your marketing campaign.

There is also a psychological aspect to establishing trust and forming a relationship. Most customers have been burned, treated badly, swindled, or disenchanted at least once. They will not necessarily jump at the opportunity to buy something unless they have a sense of confidence in the seller. In an age where people are tired of receiving spam and a glut of marketing materials, the modern consumer has become savvy and somewhat cynical. Only a company with a strong proven reputation will gain their trust.

Therefore we want to always build a level of trust through quality of service, and this should be reflected in our marketing language.

Finally, there are practical factors that enter into marketing.

If it is simply inconvenient for a customer to purchase from us or we simply cannot satisfy their needs with the product they are seeking, then we must not attempt to fit a square peg into a round hole. Too many sales are lost by trying to do so. More importantly, we may risk ending a future relationship with the customer by losing their trust.

In the end you want to sell customers by gaining their trust and building a relationship based on customer satisfaction and by being honest and not trying to be everything to everyone.

Out Let Branding Concepts

THE HANDMADE CONCEPT

Through research, I've found that the hand illustration has been used a lot.
I'm not saying that there are no more ideas, it's just too predictable and conventional
It has been used to represent many applications:

* HELP EFFORT
* GROUP WORK
* HAND CRAFTS
* ORGANISATIONS

etc.







MADE IN THE UK CONCEPT
The UK is becoming like the USA, Canada and Australia, a multy culture society, with imigrents from all over the world comming to setile and make a new life, bringing with them their own ethnic craft skills, it's where all the different handmade creations are made, the UK.

Made in the UK

Down this path, I find myself restricted by certain colors relating to the UK flagand some icons that are created for tourist to identify.