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Richard Jones

Richard Jones profile picture Hello! I'm an enthusiastic, organised and committed graphic designer with a career aim to work with like-minded creatives to provide the best possible solutions.

I have an affinity for visual identities and brand strategy ensuring all aspects are rationalised. Care and consideration taken throughout inception to delivery.

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Midland Bank - Visual IdentityMidland Bank - Visual Identity

Back in June 2015 HSBC announced a rebrand due to new government legislation requiring all UK banks to ring fence their retail operations from their investment arms by 2019. The issue has attracted widespread attention and has been discussed at length by major media platforms for news, business and design. Midland Bank was found to be a favourite name with its past positoning in the UK banking market. With the HQ for HSBC retail moving to Birmingham in 2019 it made the name change even more appropriate. The rebrand is an evolution of the previous identity having used similar colours, the famous ‘listening bank’ strapline and the iconic gr iffin logo. Colours have been named for the heritage value of the rebrand, they are as follows: Geach, named after Charles Geach who founded the bank back in 1836; Electrum, a metal alloy that was originally used as the material for coins, similar in colour; Stour means ‘dust forming a cloud’ which is how the colour appears and is also short for Stourbridge where the first branch was opened (Old Bank); Union is a reference to the new brand strategy, bringing back people banking and is also short for ‘Union Street’ where the bank was founded in Central Birmingham. A griffin was seen in the previous logo surrounded by a roundel of coins, I have produced a more simplistic griffin seen as a silhouette in-front of a gold coin. Griffins are known for guarding treasure making it a suitable visual for the brand. I hope that you like the new identity elements for Midland Bank and approve it’s the right direction for the brand.

Brand application allows a brand to come alive, for a bank it’s imperative that the stationery is done right. Stationery is seen right through the business and is a constant medium that customers are receiving and having contact with. I have treated Midland Bank with a series of collateral that I feel best reflect the brand. The following have been produced: bank statement, letter, compliment slips, business cards, slip folder, cheques, chequebook, envelopes and rubber sleeves. Stationery has helped to visualise the brand and show how consistent and versatile it can be. There are no elaborate designs just precision in the placement and layout of each document. Gill Sans is the primary typeface for the Midland rebrand, quintessentially British and well known for its uses in London and British poster design in the early 1920’s. As Midland Bank merged with the Central Bank of London in 1891 Gill Sans is a reference to this time period in the banks history. The Midland Bank branding guidelines outline the specifications for each document so that there are no issues with consistency. Stationery documents will often be adapted by people within the business who are not, for lack of a better term, design minded. I am really pleased with these outcomes and feel that they signal a fresh start for Midland Bank but still maintain a heritage element that is so significant. Clear, simple and bold design allows for easy usability and readability without compromising how the brand transcends platforms.

D&AD 2016 - MonotypeD&AD 2016 - Monotype

‘Use the power of typography to activate a cause’ was the brief set by Monotype for the 2016 D&AD New Blood Awards. Sight is possibly the most important sense that we have as human beings; something that is often taken for granted. I wanted to promote a local blind charity Focus through my deliverables. They provide education, technology, guidance and support for the 29,000 people in Birmingham who live with visual impairment. ‘Create a campaign that helps to empower the visually impaired in a respectful but conceptual manner.’ I met with 3 people who all have visual impairment which was a fascinating experience understanding their thoughts and attitudes they have about their disability. The outcomes consist of a series of posters that display extremely powerful quotes voiced by Steve Keith, Margaret Sheridan and Dean Norris. Quotes are presented in braille. The visually impaired will be able to understand the posters but the majority of sighted people, will not. Translations of the braille are made in Baskerville (a Birmingham founded typeface) using ultraviolet ink; blind to the eye under natural light but visible to the eye under ultraviolet light. This is a statement; to put the sighted person in the position of someone with visual impairment. Each poster displays personal outlooks on visual impairment. Their messages are the voices for this campaign. Thank you to Steve, Margaret and Dean for such an incredible and inspiring experience and for being so honest in their responses.

The Winterbourne Press - Brand ElementsThe Winterbourne Press - Brand Elements

Winterbourne House & Garden is are rare surviving early 20th century suburban villa located in Edgbaston, Birmingham. The house was built in 1903 for local planning pioneer John Nettlefold and his wife Margaret. Designed as a small country estate the house boasts rustic outbuildings and large gardens. The Winterbourne Press, located in one of the outbuildings at Winterbourne House, is home to a wealth of printing presses and movable type. Owned by the University of Birmingham the press is loved by families, professors, doctors and students. The aim; to build a brand that is representative of the culture and future aspi-rations of the press. Formulating a set of core values (traditional, heritage and Edwardian) and an understanding of the target audience allows for clear brand messaging to be developed. ‘Preservation, accessibility and education in printing history and culture’ was the leading message that underpinned all visual outputs throughout the production and development of the brand. The logo output is compromised of Baskerville, one of the most famous typefaces in the world deigned by John Baskerville, a local man, in 1703. Decorative or-naments surround the logotype to represent the circular and cyclical nature of printing presses; the diamond being a reference to the architectural style of the house. A number of elements have been produced to establish a brand that feels suited to its context with care and consideration taken to history and Winterbourne’s loving audience.