DISCIPLINE(S):
DISCIPLINE(S):
DISCIPLINE(S):
MARKETING
MARKETING
MARKETING
WAYFINDING
WAYFINDING
WAYFINDING
PUBLICATION
PUBLICATION
PUBLICATION
I love finding the emotional impact I can bring to each design.
I’m a designer who’s driven by emotion, clarity and connection. I approach design by paying close attention to what people need, how they think and what will genuinely resonate with them.
I’m a designer who’s driven by emotion, clarity and connection. I approach design by paying close attention to what people need, how they think and what will genuinely resonate with them.
Paragraph
Paragraph
I’m naturally detail‑focused and logical in how I create a design, but I’m equally interested in how it makes someone feel and whether it communicates in a way that’s honest and direct.
I’m naturally detail‑focused and logical in how I create a design, but I’m equally interested in how it makes someone feel and whether it communicates in a way that’s honest and direct.
TOP 3 PROJECTS.
TOP 3 PROJECTS.
Triptych Jewellery Box and Advertising, 09/25 - 12/25
Triptych Jewellery Box and Advertising, 09/25 - 12/25
Triptych Jewellery Box and Advertising, 09/25 - 12/25
The brief here was to communicate my emerging identity as a graphic designer by creating an original design product for sale. To do this, I created targeted an audience drawn to the Renaissance period, as this is an interest of mine and a way of expressing the intentional, detail‑driven and structured approach that defines my design practice.
The brief here was to communicate my emerging identity as a graphic designer by creating an original design product for sale. To do this, I created targeted an audience drawn to the Renaissance period, as this is an interest of mine and a way of expressing the intentional, detail‑driven and structured approach that defines my design practice.
The brief here was to communicate my emerging identity as a graphic designer by creating an original design product for sale. To do this, I created targeted an audience drawn to the Renaissance period, as this is an interest of mine and a way of expressing the intentional, detail‑driven and structured approach that defines my design practice.
My concept was about making a mundane action into something special; I used Renaissance inspired ornamentation and motifs, laser engraved onto wood to match my research and create a crafted and thoughtful box. The belly band extends the same visual language through its typography and layout. I then researched suitable retail contexts and created advertising around the concept of ‘Ritual Not Routine’ for potentially the V&A to sell in their shop to position it as a premium object.
My concept was about making a mundane action into something special; I used Renaissance inspired ornamentation and motifs, laser engraved onto wood to match my research and create a crafted and thoughtful box. The belly band extends the same visual language through its typography and layout. I then researched suitable retail contexts and created advertising around the concept of ‘Ritual Not Routine’ for potentially the V&A to sell in their shop to position it as a premium object.
My concept was about making a mundane action into something special; I used Renaissance inspired ornamentation and motifs, laser engraved onto wood to match my research and create a crafted and thoughtful box. The belly band extends the same visual language through its typography and layout. I then researched suitable retail contexts and created advertising around the concept of ‘Ritual Not Routine’ for potentially the V&A to sell in their shop to position it as a premium object.
Coventry Biennial Wayfinding, 03/25 - 10/25
Coventry Biennial Wayfinding, 03/25 - 10/25
Coventry Biennial Wayfinding, 03/25 - 10/25
This brief for Coventry Biennial was a live client brief that Iness and I worked on. It entailed creating wayfinding and a publication for audiences from around the world, artists and anyone interested in contemporary art. After presentations, emails and conversing with the clients, we created a stamp concept to work with their theme of Obsessions and Possessions, in order to act as a wayfinding tool.
This brief for Coventry Biennial was a live client brief that Iness and I worked on. It entailed creating wayfinding and a publication for audiences from around the world, artists and anyone interested in contemporary art. After presentations, emails and conversing with the clients, we created a stamp concept to work with their theme of Obsessions and Possessions, in order to act as a wayfinding tool.
This brief for Coventry Biennial was a live client brief that Iness and I worked on. It entailed creating wayfinding and a publication for audiences from around the world, artists and anyone interested in contemporary art. After presentations, emails and conversing with the clients, we created a stamp concept to work with their theme of Obsessions and Possessions, in order to act as a wayfinding tool.
Specifically, I worked on the posters that were outside each venue, bringing in an arrow asset that was created with the texture of a highlighter. This was an element that we both created when thinking about the client’s theme. Additionally, I designed the map and stamp collection pages that were featured in the publication, which I helped paginate. As a team member, I took responsibility in emailing the clients, setting up meetings, requesting images and copywriting.
Specifically, I worked on the posters that were outside each venue, bringing in an arrow asset that was created with the texture of a highlighter. This was an element that we both created when thinking about the client’s theme. Additionally, I designed the map and stamp collection pages that were featured in the publication, which I helped paginate. As a team member, I took responsibility in emailing the clients, setting up meetings, requesting images and copywriting.
Specifically, I worked on the posters that were outside each venue, bringing in an arrow asset that was created with the texture of a highlighter. This was an element that we both created when thinking about the client’s theme. Additionally, I designed the map and stamp collection pages that were featured in the publication, which I helped paginate. As a team member, I took responsibility in emailing the clients, setting up meetings, requesting images and copywriting.
Scooby Doo Interactive Publication, 09/24 - 12/2024
Scooby Doo Interactive Publication, 09/24 - 12/2024
Scooby Doo Interactive Publication, 09/24 - 12/2024
The brief for this particular project was to create a publication that celebrated and validated a community I belong to. I chose the ‘Scooby Doo’ fan base as someone who enjoyed the show growing up. This was a niche audience that I was targeting, and my aim was to bring them nostalgia and joy through this interactive publication. I also wanted to appeal to them in the way that they would know the history of show and its forgotten horror aspect.
The brief for this particular project was to create a publication that celebrated and validated a community I belong to. I chose the ‘Scooby Doo’ fan base as someone who enjoyed the show growing up. This was a niche audience that I was targeting, and my aim was to bring them nostalgia and joy through this interactive publication. I also wanted to appeal to them in the way that they would know the history of show and its forgotten horror aspect.
The brief for this particular project was to create a publication that celebrated and validated a community I belong to. I chose the ‘Scooby Doo’ fan base as someone who enjoyed the show growing up. This was a niche audience that I was targeting, and my aim was to bring them nostalgia and joy through this interactive publication. I also wanted to appeal to them in the way that they would know the history of show and its forgotten horror aspect.
To do this, I created a triangular format using two A3 sheets of paper designed in a square and divided both into eight triangles. From there once both sheets were folded into one triangle, I stitched and intertwined them. This allowed it to be folded in such a way that created hidden, surprise elements that progressed the narrative. After many mock ups and testing, I found the right way of telling the mystery story and how each viewer would interact with it. My interest here lies in how I communicate with an audience and how I can create a physical product that’s interactive.
To do this, I created a triangular format using two A3 sheets of paper designed in a square and divided both into eight triangles. From there once both sheets were folded into one triangle, I stitched and intertwined them. This allowed it to be folded in such a way that created hidden, surprise elements that progressed the narrative. After many mock ups and testing, I found the right way of telling the mystery story and how each viewer would interact with it. My interest here lies in how I communicate with an audience and how I can create a physical product that’s interactive.
To do this, I created a triangular format using two A3 sheets of paper designed in a square and divided both into eight triangles. From there once both sheets were folded into one triangle, I stitched and intertwined them. This allowed it to be folded in such a way that created hidden, surprise elements that progressed the narrative. After many mock ups and testing, I found the right way of telling the mystery story and how each viewer would interact with it. My interest here lies in how I communicate with an audience and how I can create a physical product that’s interactive.
MY PROCESSES.
MY PROCESSES.
My design process always begins with research, sketching or writing down any thoughts that come to mind. Capturing these ideas early helps me to avoid overthinking and allows me to identify elements with potential to explore further. I predominantly work digitally, as I find it is the most efficient way to experiment and trial different design directions.
My design process always begins with research, sketching or writing down any thoughts that come to mind. Capturing these ideas early helps me to avoid overthinking and allows me to identify elements with potential to explore further. I predominantly work digitally, as I find it is the most efficient way to experiment and trial different design directions.
As a visual learner, working digitally also helps me better visualise ideas and refine them as the project develops. I approach design in a logical and thoughtful way, carefully considering the audience and purpose of each project. I prioritise function and clarity over purely aesthetic choices, ensuring the final outcome communicates effectively while remaining visually engaging.
As a visual learner, working digitally also helps me better visualise ideas and refine them as the project develops. I approach design in a logical and thoughtful way, carefully considering the audience and purpose of each project. I prioritise function and clarity over purely aesthetic choices, ensuring the final outcome communicates effectively while remaining visually engaging.
INSTAGRAM: @zrw_graphicdesign
EMAIL: Zainabwillshire@gmail.com
PORTFOLIO: Zainab Willshire
INSTAGRAM: @zrw_graphicdesign
EMAIL: Zainabwillshire@gmail.com
PORTFOLIO: Zainab Willshire
