I am an independent graphic designer with extensive experience in production and project management. I work across various media such as books, catalogues, posters, identities, exhibition design and websites. I work mainly within the cultural sphere developing material for designers, artists and cultural institutions such as museums and galleries. I have a consultative approach taking projects form conception to completion in both digital and print media.
Please do not hesitate to contact me at mail@phoebejenkins.co.uk.
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Labour of Love is a boutique and clothes label. They needed a website which was unique but also one they could easily up date. Each section has a different layout and approach to displaying information, but can also be updated by the company, http://www.labour-of-love.co.uk.
Lost and Found is a company which designs interior furnishings by creating something new from vintagepieces. They needed a website which was simple and modern but which also conveyed their love of traditionaland nostagic items, http://www.lostandfounddesign.co.uk
An exhibition at Southbank's Royal Festival Hall, Sept 2007 as part of the London Design Festival.
The show invited 27 international designers, including Conran and Partners, Marti Guixe and StuartHaygarth to redesign an object bought from Deptford's famous thrift market. Their task was to challengepreconceptions of usefulness and beauty, using their talents to re-work the item, creating somethingunique, desirable and functional. By re-interpreting the discarded, the aim of the Market Challenge wasto inspire and encourage designers to think about re-using what is available before creating an entirelynew product from scratch. The transformed objects were exhibited at Southbank’s Royal Festival Hallbetween 15th - 25th September, 2007.
www.deptforddesignchallenge.com.
Logo and website design for RSVP London, a quarterly networking event and online resource for thecreative industries. To find out more visit http://www.rsvplondon.co.uk.
Nevada Street Deli logo. The logo had to reflect the following values; family business,quality and finefoods, traditional, modern British, using small suppliers and cutting out the middle man. The name wasproblematic in that Nevada has associations with desert, USA, music which have nothing to do with thedeli. These associations could not confuse the brand in any way, which meant the logo needed to drawon the fact that this is the name of the street the deli is on and nothing else. I looked at the many differentstreet name signs in historical Greenwich as my typographic reference. The advantage of taking this as astarting point was this typography would also emphasise the ‘British’ element of the brand. I took an olderversion of the street sign to draw on the ‘traditional’ elements of the brand. The handwritten ‘deli’ givesassociations of ‘local’, ‘intimate’ and ‘unique’ which ties in with the brand values of using small suppliers.On a more practical side it was decided that the handwriting should be the owner’s own as she would be usingher handwriting to create labels and signs inside the delicatessen, therefore giving consistency to the brand.
Website design for Committee. The site is not live yet, but it will be soon. http://www.gallop.co.uk
Book and exhibition design for Nylistasafn in Reykjavik, Iceland.
Relatedness in Iceland is a complex topic. As well as there being a fascination with geneologies or bloodties, Icelandic cultural tradition has it that as soon as you meet someone the task at hand is to discover ifyou have anyone in common, be it a relative, acquaintance or friend. Telling stories about one another isthe Icelandic method of strengthening old ties and making new ones. I created a book which at its coreunderstood relatedness as being defined by more than blood. It was a book of stories, the kind that peoplewould typically tell each other when they share someone in common. I used the rhizome as a graphicaldevice as it represents ties in an equal way, as apposed to the more hierarchical family tree structure. Thebook was a concertina fold and could be read in any order, so as not to give prominence to one storyover another. It was also hand printed to emphasise this more intimate definition of relatedness rather thanthe more structured method of definiing relatedness through blood ties.
As a member of a design group in Iceland this project was an exhibition in Salone Del Satellite, Milan 2003
‘Designer For A Day’ was an exhibition designed for Salone Del Mobile. This one-off magazine is brimful oflighthearted, genial ideas for the do-it-yourself designer. The magazine was distributed throughout the showin accompanying plastic bags and displayed on a ‘ideas machine’ conveyor belt.“Not only does the magazine exude a sense of pleasure in its making, but the makers also poke fun at the designworld in spirited fashion. Such relief in design-heavy Milan was more than welcome.” (‘Frame’, Jul/Aug, pp.30)
“…the handbook gives a good ribbing to the ivory-tower environment of design education”(‘New Scandinavian Design’, Paul Cabra and Katherine Nelson, 2004).
As a member of a design group in Iceland we revisited Milan in 2005 and exhibited at Designer's Block.
‘Winner For a Day’ was the second exhibition which was taken to Milan for Design Week. A quirky approachto design, the group invited the audience to become a ‘Winner for A Day’. The main product was a record which,in both English and Icelandic, gave instructions about how to become a ‘Winner For A Day’ by making your owntrophy using a glass and concrete! The aim of the exhibtion was to poke fun at the elitism of design and includethe audience in the design process.
Christmas cards and an advent calendar designed for The National Museum of Iceland.
There are 13 father christmas’ in Icelandic tradition. Descended from the trolls, Gryla and Leppaludi, they are mischievous, frighteningand symbols of chaos, rather than making children excited at Christmas with the promise of presents. They have been watered downover the years to become more friendly and akin to our beloved bearded white and red version. With historical accuracy in mind however,we brought back the traditional more scary version with a series of Christmas cards and an advent calendar. By using old Icelandicpostcards as backgrounds and photographs owned by the museum of these traditional rascals, a surreal medley of cards was designedalong with an advent calendar.
Smekkleysa is an essay which looks at the early graphic design of the Icelandic production company 'Bad Taste'.Smekkleysa is an unusual company, born of the 80's. It is a non-profit company, producing music, poetry, booksamong many other forms of creative expression. It's aim is to remain true to creativity rather than commercialismand it has influenced the attitudes of the next generation of artists, musicians and designers in Iceland.
Rogue is a font for decoration rather than function. Developed using the modernist font, Futura,as its starting point, Rogue breaks all the rules with Rococco decoration bursting from it. Ratherthan a font which is legible, functional and stripped of all unnecessary decoration, it is a font forfont’s sake with decoration as its only aim.
