Hoarding and Collections – Music Collection 3.5.16

The Brief

Things that stand out for me personally, look for patterns, interrelationships, gaps, oddities in your hoard.  Create order out of the collections using your own method and categorisation.

Lecture Notes

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The Methodology

Apart from shoes, other hoarding I have is music, with the increase of MP3’s the older formats of CD, Cassette and Vinyl have really become extinct with everyday use.  Though, I am aware vinyl is making a trend come back.

I decided to dig through my music collection of pre-MP3s, which consists of vinyl, cassettes and CD’s.  I inputed the relevant data I wanted to collect and arrange for my infographic.

Snap shot of the fields of catagorisation – Artist, Genre, Year and Format.  I couldnt really use the album name for any data collection to categorised, so I left that off.

Master List

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Filtered List by Quantities 

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Filter List Music Quantities by Year

Interestingly, I discovered that I have no albums from 2009, probably didn’t go music shopping as I was pregnant.

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Filtered list – Music by Genre 

I found this quite painful because a lot of Artist have multiple genres!  I decided to categorise to the most relevant genre or I would have found it difficult to complete my infographic.

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Design Layout and Research Reference

I initially looked a pie charts in Illustrator and decided it wasn’t the best format for the data display.  I decided I would use a written infographic, designed like a gig poster, which would be relevant as it’s a music collection.  I researched designs that I liked to refer to for it’s creation.  As well as this Vintage poster I researched retro designs in Pinterest for my pre-MP3 music collection as the retro design would be conceptually correct for these out dated audio digital/analogue file formats.

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Background Design

I took photos of my vinyl record labels to see how they would look, I used the magic wand tool and remove some of the label and info on the record to give a worn out vintage look.

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I started to create a logo design in Photoshop called Surface Noise, this means that all the pre-MP3 music collection has ‘surface noise’ when played as the format isn’t as high quality sound as digital MP3s, of course with vinyl and cassettes in analogue this is quite relevant.

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Ideas for colour design of logo to blend into background of design

Initially I started with red then moved to grey, I used a grainy texture to depict a vintage look.

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Faded out the background image using low opacity.

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Arranged my data into the infographic, using glyphs as semiotics.  Arrange positive data at the top and negative data at the bottom.  I also gave the background a brick wall effect.

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To finish my design I wanted to give a grunge vintage look as everything look just a bit too fresh.  So I used a duplication of a grunge texture one as an overlay and the other pin light to highlight the data on the background vinyl, adjusting the opacity.

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Final Design

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What Else Can I Do With This? Candy Tree! 3.5.16

The Brief

Create a design from familiar object in the world.  We take things for granted and now is the time to ask, ‘what else can I do with this?’  Thinking of alternative uses for everyday objects, building, spaces, materials, technology and systems.

Lecture Notes

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The Methodology

Looking outside into my garden, I have lots of wooden branches cut from my neighbours over hanging trees into my garden. I decided to grab a branch and think about ‘what else could this be used for?’

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I selected a branch that had branches shooting off like ‘tree like features’.

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Using sanding paper I sanded down the branches to give a smooth finish and remove any knots.  Then I got some stain and tested the colours to see which gave the best result on the bark.

After staining the bark, I stood the branch in a pot of sand and decorated the pot with white spar stones and pink hearts, wrapped a pink ribbon around the branch.

With the branch now as a tree, it was ready for decoration – time to turn it into a candy tree.

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Using large and mini cupcake bases I constructed a hanging case with string.

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The Candy Tree constructed with candy held in the cake cases.

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What else could I do with this? Took an old branch and turned into a candy tree ideal for children’s parties.  With the stain on the branches it is weather proof so can be left in the garden at all times.  It can also be decorated with tea lights and glass holders for a warm ambience design for summer evenings in the garden.

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Poster Design – Road Safety Awareness for Pedestrians 29.04.16

As a car driver, motorcyclist and cyclist, I’m acutely aware of the dangerous on Britain’s roads.  Having driven in the UK for the last 20 years, and especially as a motorbiker in London and nationwide for the last 5 years, I have seen what most other people don’t see and it’s quite scary to witness, which most other motorcyclists would agree.

Motorcyclists have to anticipate the actions of others, stay extremely alert and observant, slow down and emergency stop if the unexpected happens, position ourselvers in the safest and best place to maximise our visibility of potential hazards.

It’s a real shame that there isn’t enough road safety awareness.  When I was a child there was always adverts on TV on road safety and programmes at school.  We just seemed to be educated on it.  Today’s younger generations, just seem to be oblivious to the dangers.

I have encountered several incidents where children and young adult walk onto the road without looking.  I don’t know why they do this, they must have so much on their minds.  People are in rush in the busy city, without a care of their own safety, the Government really needs to push road safety awareness for the younger generations.

As the media is focussed on fear mongering, their attention isn’t at road safety or highlighting the dangers for children and young adults, they give the impression that causes of harm to young people, such as knife crime, are more common than they really are, which is untrue as I’ve reviewed the knife crime statistics online and they are one of the lowest reported crimes.  When in fact road incidents are the biggest cause of accidental deaths and serious injuries amongst young people.

Here’s a table of statistics taken from the Government website on road safety http://think.direct.gov.uk/index.html

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As you can see the numbers are quite shocking.  The Government needs to create more campaigns for road safety awareness, educate through schools and the especially the media.

I designed a poster for road safety awareness, it’s a contemporary abstract design.  I tried different ideas to start with, before my final design.

My final poster design size B2

The concept is around road safety awareness for pedestrians.  The word ‘look’ is depicted in both forwards and reserve, stating that ‘we’ as pedestrians, should look both ways.  I created the word ‘look’ to appear smaller in a perspective vision, meaning we must look further into the distance before crossing the road safely, not just our close by vision.  The red, amber and green depict the traffic lights, to bring awareness of the importance of paying attention to these lights and pedestrian crossing lights before crossing safely.  All too often people walk on the road when the green light is on for passing vehicles.

The typefaces I used – ‘Look’ Century Gothic Bold and ‘One Life’ Gotham Rounded Medium.  The reason I chose Century Gothic Bold, it’s form is a sans serif, I has sharp, straight angles.  It reads as a very clear bold typeface as it presents very sharp lines and angles.  I also found this useful when joining the letter forms together to form a distance of perspective.  I enjoy using the typeface Gotham Round Medium as it clear and quite neutral in form, but also has a nice softness to it from its curved edges.  I used this to highlight we have ‘one life’ as pedestrians, it’s soft and in used the colour ‘red’ to highlight it’s importance.  We need to use the sharpness of our vision to protect the softness of our skin.

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Organising Type – Various Recipes 29.4.16

To create 3 double page spreads for 3 different recipes, I used Indesign to execute my designs, the concepts are arranged at A3 size.  No illustration were used, typography based with some graphical elements, such as shapes, lines and dots.  The concept are presented below.

Lecture Notes

 

RECIPE 1

The Brief

To use one typeface and one colour.  Typeface used : American Typewriter / Colour : Green.

The Recipe

Choosing my first design was from a website:-

Spring Vegetable Couscous Stir Fry

To organise the recipe, I chose the title Snappy Vegetable Stir Fry.  The recipe is based and on the link above and is credited to the author on the design.

Initial design was to present the information in the typeface American Typewriter, which is slab serif.  I chose this typeface as I wanted it to have a kind of raw feel to it, an old-fashioned and personal look.  The letter forms are the typical typewriter alphabet forms, which has nostalgia.  I enjoyed using this typeface because in lowercase and uppercase and removing colour from the fill to stroke only, it altered the design of the typeface tremendously.

My concept was designed for students.  Running with the idea of nostalgia, I decided to create shapes from squares to hold information on the ingredients.  The square can also depict as Polaroid photographs.  Again, keeping it black and white given it an old-fashioned feel.

The lines throughout the heading depict, chopsticks, which are commonly used to eat stir fries, but then I realised it was a Mexican recipe, so decided to revise my design based on it being a Mexican recipe.

Initial Design – Recipe 1

I used columns and grids to layout my recipe to ensure it locked to the grid to ensure consistency, streamlining and white space within my design.

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Final Design

I revised my design and used the colour green as green is one of the main colours used to represent Mexico, which is also used on the Mexican flag.  The page numbers and a magazine name was added as a footnote.  Following a cite in lecture, I had feedback on my design then I changed the written words of quantities to numbers within the recipe.  I also move the ‘Directions’ title to the outside of the page to avoid it getting lost within the spine, as well as centring the ‘Enjoy’ foot note.  I credited the author underneath the introductory paragraph.

The concept is a fun and vibrant recipe, which is ‘snappy’ to make, ideal for students or beginners within the kitchen.  The layout is created in block form so that the information is organised and presented neatly to the reader for ease of use, when multi-tasking reading and cooking at the same time.

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RECIPE 2

The Brief

To use two typeface and two colours.  Typefaces used : Heading Noteworthy, Titles and Body copy: Courier New. Colours : light tint of yellow and heather purple.

Recipe taken from a Marks and Spencer cookies recipe book.  I liked the idea of this recipe because it has typography which is fun and playful, so I can use this within my design.

The Recipe/Inspiration

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The Design

Following along with the theme of cottage wallpaper in the background.  I used dots and lines to depict this image.  I wanted to use playful colours of yellow and pink/purple as these colours are associated with children and so is baking cookies.  I used tint of yellow as the background to avoid overpowering the typography in the recipe.  For the heading I used a san serif typeface Noteworthy, as this typeface looks very much like it’s written with a marker, hence the name Noteworthy.  Apple previously used this typeface within it’s application ‘notes’.  Often and traditionally recipes are handwritten notes, so I wanted to design something along these lines which is quite ease to read; and playful like baking cookies with children.  I credited the author underneath the heading.

As I mentioned the heading is creating using noteworthy, but I also added to this heading by inserting dots in the ‘o’s’ of the heading Button Cookies to depict buttons.  The layout is in order of ‘ingredients’ on the left page and ‘method’ on the right.  The circles separate the information to make it easy to digest for the reader, I changed the lines on the circles to wave lines to depict cookie cutters.

I found that the instructions within the method was quite wordy, so to ensure I was able to capture the data within my design I arranged the cookie cuts into different sized shapes with numbered instructions to ensure the design was a readable format.

For the titles and body copy I used the typeface Courier New, which is a monospaced slab serif, created in 1955 for use as a standard font on electronic typewriters.  It is a fresh design to it’s Courier typeface, it depicts a cleaner and more modern approach.  The name Courier means the messenger, which means to carry and perhaps deliver the message.  I chose this typeface as it has nostalgia associated with 50’s type design, which I feel represents a 50’s style home baking to a recipe.

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RECIPE 3

The Brief

To use unlimited typeface and unlimited colour.  Typeface used : Heading – Blenny, Body copy : Plume. Colours : Orange, Yellow-Orange, Green, Purple and Red.

The Recipe/Inspiration

I really loved the vibrancy of the colours used in the Levi Roots cook book, so I knew I wanted to incorporate this into my design somehow, but didn’t really want to use any of the recipes.  So through my mountain of cook books and food magazines I came across a recipe by Jamie Oliver in the Sainsbury’s Magazine from August 2008 on Gazpacho.  With the recipe having a Spanish influence, I knew I could combined this with the vibrant Caribbean colours from the reggae reggae cook book within my design.

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Typography Influence

From the lecture by Bruno Maags at university, which was amazing insight into the world of typography at a professional level.  He was kind enough to advise that we were able to make use of his typefaces for free for academic purposes, so I researched and downloaded typefaces from his website that would accompany my design perfectly.

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The Design

The typeface used for the heading and titles is Blenny designed by Dalton Maags, I chose this due to its weight and design, it’s bold and punchy, but has class.  It has Latin and Thai influence, and the weight of the lettering reminded me of old saloon typefaces, which are too very weighty.  It’s gives a bold headline and a retro feel.  It’s influences were known to be used on old electronic equipment and gin bottles.  The Gazpacho recipe has ancient roots, dating back to the 16th century, but also the Romans were known to combine similar ingredients.  The Latin influence of the typeface was perfect for a Spanish recipe.

The body copy typeface I used Plume, again designed by Dalton Maags.  Plume is robustly legible and ideal as a body copy typeface.  It has a playful edge, softness and a contemporary design and it’s design forms are found in very early typewriter fonts.

The design below has the columns and gridlines shown to lay out my pages and information.  I used the warm colours of orange and yellow-orange lines in the background to depict sun beams, as the recipe is a cold soup to be eaten in the hot summer sun traditionally in Spain.  The colours are vibrant, which give a sense of summer time and latino roots.  Colours of the Spanish flag are red and yellow, to complement this I used a triad of colours, which are found on the colour wheel equally spaced from each other – orange, violet and green.

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To balance out the colour I used red in the titles and white in the body copy, white was the best legible colour for readability.  The punchy heading in violet draws the viewers attention directly to it as the recipe heading as it is quite busy in terms of vibrancy of colour so it was necessary to highlight most the text in punchy cooler colours.  The recipe is page marked and the magazine name and date is added to the footnote.  I credited the author beneath the heading.

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Equality for Woman in London 20.4.16

I’ve been asked to design and write article on diversity at work, mainly around how diverse we are and employ women equally to men, which is fantastic.  So after studying Barbara Kruger and Sheila Levrant de Bretteville they inspired me to take on this project.  I’ve been playing about with ideas for the diversity design, which I am yet to complete.  However, I was inspired to initially create some thing for myself.

This image below presents the doors of perception as cleansed, the door is depicted as open, the bus is a symbol of travel and freedom for women, door is depicted as pink to represent a woman.  Parliament is in the background.  If the doors of perception in the working environment of the city were cleansed for every woman would have equal rights, particular as woman are paid less than men.

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If the doors of perception were cleansed every thing would appear to man as it is, Infinite. For man has closed himself up, till he sees all things thro’ narrow chinks of his cavern.” ― William Blake.

Text Analysis Object as Image – The Italian Scooter

Object as Image – The Italian Scooter Dick Hebdige (1981)

The designer for the first Italian scooter was Corriando D’Ascanio for Piaggio. Piaggio was formally Piaggio Air.  During the War Piaggio Air had produced Italy’s only heavy bomber the P108 B.

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D’Ascanio was an aeronautical engineer who had previously designed the first production helicopter for Agusta.

There are articles claiming that D’Ascanio first had his scooter design for Innocenti, but the two had a falling out, so D’Ascanio took his design to Piaggio and the Vespa was born.

The First Italian Scooters

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Above First Image – Piaggio Vespa 1946 followed by Innocenti Lambretta 1947.

The first motor scooters were manufactured in Europe in the years after the First World War – there were records of scooters being sold earlier than this in the US.

The post-War period brought changes associated with development captialism, such as

  • Automation of the work process.
  • Increased specialisation and diversification – (spreading of risk over a wider product range).
  • Expansion of the white collar sector.
  • Control of distribution networks.
  • Marketing sharing between corporations.
  • Price fixing.
  • Imperialism, exploitation of 3rd world resources, domination of third world markets.
  • The movement of competition from the ‘field of price’ to the ‘field of sales promotion’.
  • Increased expenditure on research, design and market preparation.

All these developments were motivated by need of the modern corporation to dominate and control all the conditions and variables which affect investments.

In this context the massive expansion of advertising and marketing industries during this period can be most clearly understood.

In this period design became consolidated as a ‘scienfiic’ practice, the shape and look of things were to play an important part in aligning two potentially divergent interests, ‘production for profit’ and ‘consumption for pleasure’.

As I’ve already mentioned, the designer for the first Italian scooter was Corriando D’Ascanio for Piaggio. However, Innocenti followed in 1947 with the first Lambretta scooter.

The Vespa’s design was contempory, it was streamline and made a visual impact.  The Vespa’s design was made for comfort, convenience and vanity.  The covering of machines parts meant that the rider didn’t have to wear specialist protective clothing.

The name Vespa translated is in English to ‘Wasp’ for its buzzing sound and thin streamline body.

The Early Years – Consumption for Pleasure

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Early advertising campaigns were particularly directed at consumer groups of the young and women. The new invention bought of the ideal scooterist, young, socially mobile, conscious of his or her appearance. Left image – Innocent Lambretta’s advert 1956

It was also an ideal frame for skirt wearing women as the ideal choice of dress in the 1940’s was a skirt, though some female factory workers did wear trousers, but switched back to the skirt when they ‘clocked-off’ or were out in public.  The scooter was a comfortable, nicely design little vehicle for people who didn’t care too much about the mechanics of it.

By 1950, Piaggio and Innocenti had between them opened up a completely new market for cheap motorised transportation.  The Lambretta’s range was Piaggio’s biggests threat to in terms of international sales and trade recognition.  The Lambretta was marketed in Britain as the sports car on two wheels, elegance and comfort were strong selling points.  It had a variety of accessories which were available, such as windscreens, panniers, bumpers, radios and a glove compartment – giving a luxurious image.

To the consuvespa.jpgmerist the Vespa offered the contemporary design, the engine was hidden behind the metal cowling, removing the mechanical parts from viewer depicted the object as a lifestyle choice, the aesthetic gave dematerialisaton of the object.

Scooters were presented to the public as clean, social applicances, unlike the rugged looked of the traditional motorcycle designs.  Piaggio sold around 2500 Vespas in 1947, but the year after that, they sold more than ten thousand and by 1950 sales had rocketed to 60,000 a year.  Left image – Piaggio Vespa 1946.

 

In 1952 movie stars Audrey Hepburn and Gregory Peck rode a Vespa in the hit film Roman Holiday.  Hepburn and Peck helped to make the Vespa even cooler and 100,000 more Vespas were sold as a result.

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The worldwide Vespa club membership soon soared to 50,000 and more, and the Italian scooters future looked to be set in stone. With the invested interested in transforming the market, in aesthetising products and ‘educating’ consumers emerged a set of cultural values.

 

1950’s, 1960’s and 1970’s – Consumption for Desire
The object is denoted as Italy – the home of male narcissism, connoting a sign of good taste and the look of the future.

As scooters became more popular by 1963 there were 22 different firms selling scooters in Britain, more and more events took place.  Innocenti specific developed the 200cc Lambretta to meet the demands for the Isle of Man Scooter Rally, by late 1950’s it had become quite an important event in Europe.

During the mid 60’s the British media spread the knowledge that the Italian Scooters were an identity markers for The Mods.

The Mods were groups of youths who dressed in suits and military parka coats who were dressed to impress and show off their scooters.

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They were also connected with vandalism and riots, particular against the rockers who rode motorbikes, one of the biggest headlined riots was the ‘Battle of Brighton’ in 1964.

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Later in 1979 the film Quadrophenia came out which was a remake of the Mods culture and Battle of Brighton.

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Quadrophenia was also ‘The Who’ sixth studio album, which had a great influence on the mod revival in the 1980’s.

1980’s and 1990’s – The Mod Revival and Britpop

Above images from left to right – Damon Albarn from Blur, Oasis band members.  Cover albums – Saint Etienne, Massive Attack, Portishead, The Jam, The Who, The Charlatans, Oasis, Blur and The Chords.

The relationship between user and the object – The Italian Scooter, changed overtime with the disappearance of service stations, the recessions, small Japanese motorcycles, crash helmets and scooters India.

The network of relations had shifted, owners were seen as amateur mechanics, due to the lack of garages, scooterist were forced to carry out maintenance on their own bikes.

The mods revival was kind of a music genre, bands drove the scene’s growth from a subculture to main stream.  Bands like The Who and The Jam, with this continuing into the 90’s Britpop years.  Many Britpop bands played round the edges of mod – Blur, Charlatans and later Oasis.

Other bands created a hybrid sound of soul, funk, pop and jazz that appealed to a mod crowd increasingly diverse musical tastes – the likes of Portishead, Massive Attack and Saint Etienne.

Mods tended to find bands that appeal to their music tastes, whether that is beat, psych, pop, soul, reggae or funk-inspired.

2000’s and Today – Celebrity Culture

With the general obsession with celebrity culture, the iconic little Italian scooter has moved with it’s new generation of networks.

Here are some celebrities photographed with Italian Scooters.  The Vespa’s current range has a special edition 946 Emporio Armani.  Like the other Italian brand Fiat, which has special edition of the Fiat 500 Abarth Gucci.

The motor industries are marketing themselves on the designer fashion brands, like some of the celebrities market themselves too.

The Vespas range has extended to merchandising in fashion, merchandising of gadgets and even a perfume range.

Lambretta is focussing on sales within the fashion industries, such as footwear and watches.  There are no scooters for sale at present in the Lambretta range, but the iconic name is still selling strong in these other areas.

The iconic scooter is pictured in so many advertising campaigns and is it still selling strong over its 70 year history.

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Above image is an example of a Pizza Express advert found on a tube station on 9 April 2016.  This is just an example of how the Italian scooter still serves as an iconic design in today’s advertising.

St Fagan’s National History Museum of Wales – 27.3.16

At the museum site in St Fagans, near Cardiff original buildings exist brought to the site from all over Wales since 1948 and re-erected, these include shops, farm, school, chapel and workmen’s institute.  The buildings were re-erected in stages from 1100 to 1520 and moved to St Fagans over 20 years.

The site has an insight into the heritage and culture of Wales and the Welsh language is used amongst the craftsmen and interpreters who demonstrate their traditional skills.

There are six houses, their contents and garden on display showing the change in times from 1805 to 1985 in Wales.

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Gwalia stores was originally built in 1880 and moved to St Fagans in 1991.  I particularly enjoyed walking through the store browsing at the different product packaging design from the early 20th century.

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Above Gwalia Store

Packaging from inside the store early 20th century product packaging design.

Further into the site there was a amusements centre, which had old penny slot machine in working order that we exchanged our new pennys for old one and had a play.  I enjoyed the look of the art deco style slot machine.

Above – slot machines from early 20th century.