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FINAL GARMENTS

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DESIGN MANUAL IMAGES

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DESIGN MANUAL 

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Final Evaluation

Personal Experience I have found that throughout this project I have pushed myself passed the creative boundaries that I often feel that I create for myself. I know understand that sometimes it takes designing over the top lavish creations and bringing them to a commercial level to produce the most successful work. I also now know what its like to have designs selected that you don’t see the strongest link in and having the final outcome to surpass the expectation that had pre-existed.  I think my skills with talking to people have improved over the course of this project, I understand the tone of speaking with some in different times of need. As times get tough for members of the group I understood that piling more pressure onto them would not help the final outcome. Although this may have meant more work for me I would rather that people were not feeling ‘out of control’ of their own work. I think in some ways that could make me seems almost a push over because people were getting away with not producing required work but I know how it can feel when you don’t feel like you have it together.  Within this project I feel like my previous skills have almost gone on the back burner, as I personally love the sketchbook side to all units and found that within the unit there was little emphasis on this and got myself uncertain on the way that  I was working at multiple stages of the project.  My tech skills have improved past the level that I thought I would get to, I find anything computer related hit and miss in terms of what I am producing. But with the use of InDesign in this unit I now feel 100% more confident than I did previously in that area of the course.  Group Experience I think that overall working as a group was far from my expectation and I still cannot tell if this is in a positive or negative light as it shines of both sides of the field.  I now understand the work ethic of others and wish to push myself further to be able to stay on track in third year at the rate that I am producing work. Having the chance to work with Lectra students within the group has driven me to challenge myself to incorporate more Lectra into my FMP work as I want to show that I have minimal skills and can develop my work further by using the system.  I have learnt new skills in presenting, knowing how to communicate as a group to an audience is something as a group we swung into quite easily however I often found that I was leading the group and I didn’t want to come across as pushy and forceful on the members of my group which makes me wish other members would have the initiative to take on conversational elements with staff/visitors. 

Collection I had little faith in the collection that we had produced closer to the beginning however I feel that we have made Coast have a new direction and have produced something that isn’t repetitive for the brand. We have taken a new approach that could either be hit or miss but we have tried to create a successful collection that thinks of everyone in a  consumer sense and have toned down elements of the styles to suit a high street company.  Something that was eye opening as a group was the way in which we have to communicate with suppliers, for example we had used a pleating company to pleat 4 of our fabrics for the collection. The members of the group that were using this service did not supply instructions with the fabric for the company and therefore we had multiple problems when we received the fabric due to this mistake which made it exceptionally hard to work with. This was an expensive mistake for the group and has made me understand the true cost behind producing outfits with such techniques. 

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Week 9 - The End

Group Portfolio Having to produce the group portfolio, proved to be one of the most difficult tasks in terms of my groups lack of communication. I understood that in the run up to the deadline that everyone would be busy, but the required work that I was asking for on multiple occasions was not being sent to me and often when it was, it was not what I was asking for or to the standard that suited the rest of the project. I did not want to be come someone in the group that gets frustrated and stressed out towards my group but it felt as if that was the only way that I got vocalise my anger towards people making me push the deadlines set back to suit them. I now know for future group work that I should give people more set in stone ultimatums, rather than threatening but not going through with it.  A problem with my laptop occurred and I became extremely upset regarding the issue as I was fearful I would be letting the whole group down if I could not solve the issue to get the portfolio printed. Although the problem got resolved, I was upset that when I needed help people found sewing their own garments more important over a group submission that I had spent more than 10 hours trying to collate for the group to have to present. I had my own work that I needed to be working on yet I was left to solve issues that had been produced because of a members of the groups files by myself. 

Final garments I was overjoyed to have fully finished my final garments come the beginning of the way as for me making is my weak point and I always wish to have room for mistakes with sewing as I find myself working myself up regarding this area of the briefs. But by taking my time and giving myself 3 extra days incase of emergency worked perfectly for me and is something that I am going to take forward into future units.  I think if I had thought about it more I would have liked to have made a 3rd garment so that our group had a jacket like piece to use when presenting to Coast however I did not want to push myself over the limit of what was capable as I knowing how much my group had relied on me in previous important tasks I didn’t want that added pressure. 

Photographing I wanted to be able to see my garments on a model over the manniquin as you get a better understanding as to how the garment looks and this made me feel so much more confident in the work that I had produced. I am a student that will always put myself down rather than feel proud of myself, I will constantly be thinking about my errors rather than my achievements. However, when I saw my garments on the model, I was so proud of how much I have adapted my style which is the opposite end of the spectrum to Coast and produced garments that I am still proud of and happy that I developed my style to suit a brand. Showing that in the future when I go out to work in industry I won’t be caught up in not showing my personal way of working style.  Labels Having produced ‘branding’ work behind the groups concept I took it on myself to produce the labels that would work with each garment, so that we had a running theme along with our matching hangers. I had done some research into how I wanted them to look and had a chat with the group and we decided that the simpler the better and any chance to showcase our print one last time was perfect for the labels. 

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1 _ Final garment for outfit 1

2 _ Printed manual. 3 _ Sewing e=Ebbonys stitching for her jumpsuit.

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Group Portfolio Experience

Having the task of creating a portfolio based around the groups concept split into individual jobs among the group have had its ups and downs in my experience.  Overall I have found the task of working as a group enjoyable however when it came to creating the portfolio it had tested my feeling towards this. Although the jobs had been divided between the members of the group there was a clear division between who said they would take on a role and who actually produced the work for that job. I found that myself and Anne were re-working or adapting a-lot of the work that was being produced by other members of the group because the standard was far lower than should be expected.  I had been given the job of layout of the manual, costing (with Ebbony), concept work (with Natalie & Stephanie).  LAYOUT The task of layout was a-lot harder than made to seem as the work produced by my group was not being produced when I was asking even though members were aware of the deadlines we had set as a group and had to extend these deadlines to suit individuals of the group who still did not meet them meaning it was unnecessary. I had lots of trouble with the file sizing of the folder and when asking for help from my group regarding these issues (of their files) I was left to figure out the issue on my own. Meaning a-lot of the work being sent to me had to be re-done by me to actually work. This task was very stressful and left the whole groups outcome on my shoulders and I was upset and angry that nobody felt they should step up and help with this.  SPECIFICATION SHEETS Anne and Adelina had taken on the task of specification sheets, however after our session with carl I was unhappy with the way in which the specification sheets were being produced, therefore I created a new template that included fabric costing, sizing (written and on tech flat). I also made sure that the text matched the overall text that had been used throughout our written work. 

Concept/Customer/Sector/Print Although a lot of this work had already been produced in previous presentations I felt that it needed to be brought up to date to suit the new layout and style that the portfolio we were producing. I spent a-lot of time adapting colours and imagery styling to suit the linear look of the publication.

For me this part of the group project was the most testing with pressure that was being put on me as I found that I was the only one working towards the deadlines we had all agreed to. My personality is not one that wishes to be involved/causing conflict therefore I felt compelled to tie up the loose ends that my group left with no final plan put in place to produce this required work.

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Outfit 5 - ‘Several Circles’ - Order of Assembly & Garment information.

Along the process of designing and development. Outfit 5 had developed significantly. With the initial oversized and sports wear style that the design embodied. Over time it had gained a more ‘coast’ approach of style, which is more suited to a variety of shapes, sizes and heights.  The garment now showcases a more ‘classic’ look that can be iconic through multiple decades of style as it takes reference to power dressing of the 80s. The colour blocking of the garment develops the reference point throughout my sketchbook and the collection imagery. The use of colour blocking means that the garment can be more suited to everyone as print isn’t always desired by everyone and within collections pieces needs to have a more simplistic edge to be paired with bold linear prints.

I am happy that the development of the garment has meant that the colour blocking has tied into the under flounce of the peplum hem. It also adds more length to the overall garment and helps create the proportion that has been so key to the garment. 

ORDER OF ASSEMBLY 1. Cut fabrics out according to lay-plans, ensuring that the pieces work on the correct side of the fabric, as the crepe as a slight sheen to one side.  2. Cut lengths of fabric along the bias in preparation for bias binding of the sleeve heads.  3. Sew front circle piece onto the front panel of the dress. Overlock. 4. Sew back circle shape onto the back panel of the dress. Overlock. 5. Right sides together, stitch curved seam from back to front. Press seams to the back/hem and overlock one continuous line.  6. Right sides together and shoulder seams stitched at 1CM, on the left hand side making sure that the contrast panels match along the shoulder.  7. Bias bind the arm holes, left in navy, right in red.  8. Sew side seam together up to notch.  9. Zip into seam, using invisible zip foot.  10. Double turn hem of both flounces. 11. Sew bottom flounce to hem of the dress. 12. Along the same line sew the top flounce. 13. Overlock the flounces together. Press toward hem. 14. Stitch pleat at neck line in the back. 15. Sew facing into neckline. 16. Edge stitch neckline.  17. Press garment. 

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STYLING INSPIRATION

The approach that I have taken in regards to styling was more of a geometric and linear approach, that mirrors the clean lines that are through out the works of Kandinsky and an inspiration point of the groups collection. Having hints of colour within the make up will draw out the colour within the garments and statement colours within the pallet, sharp hair cuts mirroring the angles within the artwork and additional inspiration of Brutalist architecture.  Styling the garments would work best with a silver hue of accessory in order to stay within the cool toned neutrals of the pallet rather than the richness of a gold, this would work within the jewellery pieces that use silver and acrylic pieces and the detailing metal work of the shoes. 

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Outfit 1 - ‘On White II’ - Order of Assembly & Garment Information

Outfit 1 was initially the garment that was not going to go forward in the process of designing the collection however with the development of the line up we found that there was leeway to be able to move forward and take this outfit into production. As I was only working on a dress for the collection (and a second garment is required) I decided that I would work towards creating half of the outfit along with another team member. I was happy to be producing this garment as it is one that I can see more closely working with my style and also allows me to explore print as my other garment does not - something I think allows for a more personal experience with the garment as the fabrication is literally one off and solely belongs to the concept. The ‘shirt dress’ came about when during our Coast presentation, Faye and Kate spoke of how great they thought the menswear shirt piece could be translated into a womenswear garment. This was something that stuck with the group and being unsure of the development of the existing 8th outfit we were all happy to move forward in recreating the mens shirt into a womenswear shirt dress. This allowed for more experimentation with length, fastening, added details e.g. belt like straps that can tie in the front or back and removing some existing elements of the mens shirt that would not be as flattering translated into a womenswear piece. Such areas included the pleating detail from the armhole seam to the cuff, this is a feature that would cause attention to the arms - an area that often women feel the most self conscious about. Also taking away the patch pockets that sit on the chest of the menswear piece as this would not sit in a flattering manor over the breast of a women with a larger breast if this garment were to go into production and be scaled up and down to fit the varying sizing within Coast which ranges from 6-24. 

Along with Annes re-drawn variation of my shirt dress technical flat with the use of shading, I had re-produced the initially specification sheets that she had made and used our universal font from through out the project to add a more cohesive look, the fabrication swatches, costing of garment (condensed) and sizing along with a technical drawing paired with the sizing. Creating the technical flat was helpful in understanding the construction of the garment and has helped me to understand multiple methods in which I can approach areas of the garment. For example, in my original technical flat I had drawn the front pleats not hemmed together and then toiled this way, then I created a new technical flat that had the pleat hemmed into the hem of the shirt dress which I then toiled and found I preferred more than the latter.

ORDER OF ASSEMBLY 1. Cut patterns following along the correct grain-line (important with the striped print fabric that the straight lines are cut straight).  2. Any pieces that need interfacing should be interfaced at this stage to understand the pieces that will be on show with the print.  3. Fronts sewn together along the seam creating the pleat in the front. Over lock on the inside. Fold over front buttons stands on either sides, ensuring that the notches match. 4. Fold over the front pleat to match the notch, 5CM pleat in the front. Press pleat along the front matching at the hem notch. 0.5CM stay stitch at shoulder seam and hem.  5. Repeat on the other side.  6. Box pleat in the back of the shirt matching up to notches, 0.5CM stay stitch along the seam allowance. Press lightly to create crease into the back of the garment. Stitch along the inside crease to ‘stay stitch’ the pleats down along the bust and at the hem.  7. Bag out yokes along the back piece, ensuring notches match along the yoke.  8. Shoulder seams together.  9. Sew sleeve head into the armhole flat, in preparation for run and fell seam along the arm and side seam of the garment.  10. Repeat on both sleeves. Overlock and press to the armhole. 11. Bag out side straps to create belt like detail. 12. Stitch onto the front of the garment at 0.5CM. 13. Front sewn at 1.5CM and back sewn at 1CM straight stitch down the arm seam and side seam of the garment.  14. Fold over 0.5CM and edge stitch the seam to create run and fell.  15. Bias bind the ‘placket’ of the sleeve. 16. Diagonally stitch inside of the sleeve along the bias binding to create point at the top of  the placket.  17. Bag out cuffs, and edge stitch the outside. Leaving one length not stitched.  18. Sew cuffs onto the hem of the sleeve with interfacing side facing away from the skin, sew at 1CM around the outside and fold in and edge stitch. 19. Sew collar and collar stand together bagging each out separately. 20. With longest edge free, stitch collar stand to the collar. Making sure that interfaced side is facing away from the body. 21. Stitch collar onto shirt with the same manor as the cuffs, outside of garment stitched first, folded and edge stitched on the inside.  22. Hem all the way around the garment with 2CM folded hem. 23. Mark buttons holes evenly down the button stand.  24. Button hole vertically along the button stand and horizontally along the collar stand and cuffs. 25. Hand stitch buttons along opposite side of the button stand, cuff and collar stand. 26. Press garment, ensuring pleats are laying neatly. 

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1_Styling - Shoes to be paired alongside Outfit 1 & 6.

2 _ Final toile of shirt dress ready for manufacture of final garment.

3 _ Upclose image of sewing of final shirt dress.

4 _ Manual development, with layout, specsheet, customer, concept.

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WEEK 8 - FINAL COUNTDOWN

GROUP WORK This week I took it on myself to see how the rest of my group were getting on with the tasks that had been handed out within the group during our session with Carl, as I found myself being worried for where my group had got too within week 8, as this is crunch time for the whole unit. We had pre-discussed final toiles being finished the previous Friday and I was happy to know that the majority of my group had done so which took some weight off in terms of time planning for final garments to be fully finished with time for any errors that may occur along the way however the group had come to some halts in production. Anne had some trouble with trying to figure out how to cut the manufactured pleats of her trousers which had been sent off. The pleating had caused for many difficult conversations as a group, throughout the project whether that be sending them off, who was using them, time frames to send them, pleats being wrong or not hemmed. The list is almost endless with every problem that we faced regarding pleated fabric, however closer to the end of the week it was as if all the worries had been put to rest as the final outcome produced from the pleated fabric was as we expected – a very rewarding moment. The tasks we had been given individually had meant that everyone had a role to play within producing elements of the portfolio, which in the presentation to Coast element I had felt almost all of the responsibilities had laid with me which was a lot of pressure when people within my group were unhappy with what was being produced but not contributing. Therefore, with everyone having their own part to play within the portfolio it meant that as a group we could tell the individual that what they were doing was not up to standard compared to the rest of the publication and others within the group could offer the help without feeling all the pressure on one person and we had the time to make the changes and adapt things. It is great that the work we are producing is developing on from what we have already achieved not starting from scratch, therefore nobody feels bogged down. I spent 2 hours each night allotted to working on the group manual, which involved layouts, costing, adapting spec sheets, supplier details, text coinciding with imagery and customer/branding information. For me it was good to have a physical copy of out presentation that we presented to Coast and was crossing off and noting down what was successful within it and seeing how I could adapt it to fit in with the layout of the manual and where it would best be placed within the manual. Often going to and from with different layouts for the manual, which can be exhausting alone when you can’t make decisions on layout however working as a group made for this task 100x easier to have feedback and to develop from.

COSTING I decided to work on the costing sheet with Ebbony as this is an area of projects that I struggle with yet I didn’t want to shy away from trying to develop my skills for future projects. Therefore, having someone else to work on it with me meant that I will be able to see how people take on the task. I started by gathering all of the information regarding costing from each individual member and from there began to make a table however this method was not the most practical in terms of fabric use as for a few of the garments within the collection the same fabric was used which would not work in the table that worked according to outfits rather than fabric purchased.

SPEC SHEETS After looking through the spec sheets that Anne had produced after our session with Carl, I felt as if they needed to have more information included within them so I created a variation including Anne’s original template along with a section for fabric swatches, fabric & fastening costing and a table of measurements. This helped to create a spec sheet that looked more like the example that Carl had shown us within the session, displaying more information if the garment were to be sent for manufacture. 

TOILES/SAMPLING As I had finished my toiles over the weekend at the end of week 7, I was happy to only be left with some minor detail sampling to try out. I wanted to be sure that I was fully comfortable with what I was producing for my final garment and not to feel uncertain when it came to using final fabrics, that I have the exact amount for with minimal spare fabric for mistakes (e.g. printed fabric of shirt dress). I used my varying fabrics to sample binding as well as using some of Anne’s binding to see how it would work with my prints to ensure that it could flow throughout the collection. Another sample I knew I needed to create was regarding the colour of thread I wished to use within the shirt dress as the print was already very busy I didn’t want the stitching to be over the top and contrasting. Therefore, I sampled 4 of the colours within the pallet and a white thread, I found that the ‘biscuit’ shade within our pallet worked best as it had a more sophisticated edge, with the white being too harsh against the print and the contrast colours being too busy. The biscuit shade simply worked best for the garment and to have the ‘Coast’ essence. I also sampled ways in which I would finish my peplum hem of the dress, I sampled binding, overlocking and pin hem and found that pin hem worked best to have a subtle finish as binding was almost immature looking and overlocking was too basic in construction. I wanted to produce all of these samples within my final fabrics as every fabric has a different composition that can make for a different outcome, which is why I had left it to this point as I wanted to be sure that I could cut all my pattern pieces following the lay plan and then use any left of fabric to create the samples.

FINISHING REPORT(LAYOUT) This week I finalised the layout of my essay and figured out imagery and how the figures were to work alongside that as I had previously not had a clear understanding of this in past projects. I am happy with the way that my report has turned out visually but also the content within the report as initially I was hung up on the essay being called a ‘report’ in terms of my tone of writing.

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DRESS TOILE DEVELOPMENT

Throughout this project I found that out of my two garments I was struggling most with the shape and detailing within the garment. Shape and fit initially had been an issue with creating 3 toiles to understand how the garment was to fit the body correctly. Also for the shape to work within the side panel had caused a lot of problems to work in a more functional method of sewing.   I went from creating the toiles in calico to working in a scuba crepe as I was considering a scuba type fabric for my final however I went back to working with calico as it was closer composition to the crepe that was selected for my final fabric.  I also created a toile in the crepe available at uni and found that it wasn’t similar to the make up of my crepe fabric as the toiling version was a lot thinner and didn't hold shape as well. Therefore by creating ‘two’ final toiles in both fabrics meant that I have a clearer understanding of how my final garment will turn out. This also gave me the chance to explore various ways of finishing the garment with fit to purpose in mind. 

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THE DEVELOPMENT OF TECHNICALS

INITAL TECHNICALS

When it comes to designing I find making the technicals flats helps to visualise how the garment can work in a more functional means. For example, where fastenings would be required, any seams that would help the garment form shape and how the wearer would get into the garment. This alone can help to develop the way the garment looks and how I choose to move forward with the way that it looks - ensuring that it stays within the concept.  I found that my development initially took me to more of a ‘coast’ garment as I began to stray away from my own personal oversized style which is more relevant to the brand and also to work with our category of ‘formal day’.  I am happy to have developed my neckline into a more suited shape for all wearers as I was conscious the overall look would be too engulfing around the body.  The development has made some routes for making easier with the use of 2 circles in the side seam over 3 and the fact that the circles no longer intersect with one another making for difficult stitching and unflattering bulk within the seams.  Therefore the make has been adapted into a more contemporary and complex design with intersecting circles into a curved seam. This was a suggestion in a tutorial with Ren, Penny & Kristian and has helped bring my design forward in so many ways after multiple methods of achieving the curved seam through sampling.  DEVELOPED FINAL TECHNICAL

My final technical had changed multiple times with deciding if there were to be two peplum flounces at the hem or one or none. I am happy that this outfit has now become one garment with the peplum hem rather than a dress and a skirt to be worn together because it would not have been suitable for the wearer and having the chance to talk to Coast about it, it simply did not work for a look they would go for. Their suggestion of the peplum hem is more suited to the brand, the wearer and working with our collection creates a fluid look within more structural linear looks to reflect the style of the Kandinsky pieces that were my source of inspiration.  Along this project I think my technical flat ability has come along way as I have become more aware of the fluidity of fabric and how it would react within shading and detailing of the technical drawing - something I have previously been fearful of doing in case it does not reflect that final outcome. My style of fabrication has meant that I often do not need to show the flow of a garment due to the firmness of denims, coated fabrics and sweat shirting. I am glad that I now know how to do this and can develop this for my FMP. 

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1 _ LAYOUT FOR THE GROUP PORTFOLIO.

2 _ LECTRA SCREENSHOTS OF THE ‘STATEMENT’ DRESS.

3 _ MINE AND NATALIE’S FINAL PRINTS WASHED AND DRYING. 

4 _ SHIRT DRESS PRIOR TO DEVELOPMENT OF THE TOILE.

5 _ SUCCESSFUL TOILE OF CIRCLES INTO THE CURVED SEAM. 

6 _ FABRIC BEING WASHED OUT (BEFORE PINK PANIC).

7 _ FINAL FABRIC CHOICE FOR OUTFT 6 (STATEMENT DRESS).

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Week 7 - Develop Develop Develop

TOILING This week I have come along way with my toiles and I feel closer to my final outcome than before. With the understanding of my fabrics and how to create the curved seams within the side of one of my dresses I feel as if I am more prepared to produce the final toile. I had spend my weekend developing ways in which I would create my intersecting circles into a curved seam and with the help of Gill I was able to come up with the most local method of having it within my dress. Moving onto my shirt dress, I had made all the alteration that I had needed to add to the garment for fit and proportion to make it suit the illustration I had drawn. I had a lot of trouble with getting the collar and collar stand to work with the garment for aesthetics and also functionality. The changes were minimal but have made the shirt dress be more suitable to the wearer and the collection.  LECTRA To develop my ‘statement’ dress I worked alongside Natalie to alter some fit elements of my dress shape to be able to work quickly and effectively after producing the perfect it. Digitising my existing draft pattern into Modaris to then move forward and play around with necklines, hemlines and flounce length. Working with a mix of Lectra and Manual is something that I wish to move forward with doing for 3rd year as it helps visually see the outcome without the excessive use of toiling materials which I have found in this unit as I aim towards a more fitted garment.  FABRIC  Having the chance to speak through fabric choices with Penny was very beneficial as I was finding it hard to visualise our collection with out the fabrics together. I wanted our fabric choices to be well suited to the season of Spring/Summer - with the use of lightweight fabrics, e.g. crepe & cottons. Developing my garment has been aided with the fabric selection, with the base of my dress being red with Navy accents in the circles and the under peplum layer. I was uncertain about my whole garment being red and I am glad that as a group we developed the design to have the accents of navy with the red to be able to have the shape detailing stand out and work with the rest of the collection. I was concerned at the cost of the fabric however was surprised when the fabric worked out cheaper than some of the suggested suppliers and had a far nicer appearance and feel to them. The feel had a big part to play within the garment for the ‘statement’ dress as it was a summer dress and you don’t want to feel uncomfortable dressed in it and especially for the long periods of time that formal day events can be. Cotton poplin for the shirt dress was an easy option as it is fitting for summer with the lightweight and also has a summery feel to the fabric already and works alongside the menswear piece.  PRINT Having out fabric printed this week took a weight off of mine and Natalie’s back as it meant as soon as we had the fit for our toiles perfect we could go ahead and start making. However it was not as plain sailing as we had expected by choosing to use a natural fabric (Cotton poplin) to dye on it meant that we had to wash the fabric out and place in the washing machine to remove any excess colour. With the white background on our red, purple, navy and orange print we found that it was white with a hint of pink - something we were not going for.  But in a frantic rush we were able to wash the 5 Metres of fabric in a bath and wash them out from home to ensure that we could get the fabric as white as possible. This has taught me that for future reference to ensure I am aware of colours that are printing with backgrounds and fabric choices, it was a nerve wracking moment as it was a large chunk of money within our groups budget.  TECHNICAL FLATS Throughout this project I have found that my technical flat ability has improved dramatically, I think this is because the general project has taken me out of my comfort zone with a new shape of silhouette to work towards rather than my typical oversized style. I also think creating other members of my groups flats helped to develop my skill because it was work alongside their design and features that they had only annotated with words so I had to use my own interpretation to figure out technical need for them.  CARL SESSION Having the chance to work through with Carl how to be more commercially cohesive within our group project was really beneficial. As the member of the group that has been producing and collating the work we have been presenting to staff and Coast guests I am happy to know that their is a more cohesive route to take with the laying out of pages. The downfall of having this session was that it almost felt too late in the unit as we have already had a key presentation to Coast without knowing these ‘visually attractive’ focal points within presenting. However I am glad that we now know how to make the portfolio have a flow that helps make our point clear and understandable with the concept and brand in sight through out.  4 PAGES - COAST DIRECTOR With this unit we are given the chance to present to the director of Coast and showcase the work that we have produced within the group. It allows us to give context behind our collection, therefore we included our main concept board, colour palette which incorporates a variation of one of our final prints and our final line up front and back. After having the session with carl we were able to adapt the existing 4 pages that we had produced to make them more cohesive and ‘professional’ looking. Therefore we created a theme that ran through the pages to connect them together and also added a brief insight into what our concept is with key words - picking out the words that draw our collection together as a bigger image.  ROLES & MANUAL Having the opportunity to express roles within the group has been a great help to me with taking the pressure off of what it being produced for the project. I was feeling as if I was taking control too much over my group and I didn’t want to start seeming as if I was taking this project into my own hands and not giving other members of my group a chance to express their ideals etc. Going through a list of requirements for the portfolio and delegating jobs took the pressure away from me when it came to producing the final layout file and not being left to produce it like I had felt when it came to producing other presentations for the group. I was happy to take on the job of layout our work into a cohesive professional manor and have a flow throughout after our session with carl on how to lay our work out.