mmparis

Delenciaga _Melia
4color silkscreen poster
120x176cm Approx





Antigona (Billboard)
Phosphorescent and Black silkscreen
400x300cm Billboard poster

This final link is mm paris. I chose the top image because of the way the lines rap around each other in a similar way to non format. The lines flow around the face in the background.
The image below, reminds me of an inverted image. You have to look closer to the illustration to make out what it is. Just like in the non format design, the designer ahs used different weight lines which add depth into it. Also the background image adds to this feeling.

non format 2

Milky Globe

Ode to a Beatbox

Lo Recordings
Music packaging
Front of 12" sleeve with white vinyl 
Illustration by Deanne Cheuk


I’ve now come back to Non-format because of the similar way the lines emerge from the typography like the previous link. Here they have just used black lines emerging from the type but against the white background it is still quite dramatic like the colourful work of Marian Bantjes. I like the way the designer has used different weights of lines which has added depth into this design and the way they rap around each other decoratively.

Marian Bantjes

PRINT MAGAZINE JULY/AUG 2006
Cover and 8 pages interior :: Vector art :: June 2006

This piece by Marian Bantjes is called Vivid World. I chose this piece because of its use of curly lines like in the previous link. The lines emerge from the typography instead in this link but I think it works really well with the decorative typeface used.
The lines make the type into and illustration instead of just a heading of an article


www.bantjes.com

NB: STUDIO

Tate Britain 2003
This design is similar to the London Underground map with its brightly coloured lines. It was designed by Nick Vincent. I came across this image while look through a book called ‘ The Graphic Designers guide to effective visual communication’. It ties in with be running theme of these links, which is the use of flowing lines in designs. By looking at this image, I them came across the image in the bottom right. The lines curve and twist in a similar way to the Boykillboy CD cover.

Big Active

These images are album and single cover designs by Markus Karlsson for BoykillBoy. The colours used in both links are the same but this is not the reason I chose them. I chose them because of the way the lines emerge from the neck and bottle in a similar way. It looks like the figures head has just exploded and these overlapping lines are the thoughts that have been unleashed.


www.bigactive.com

Non format

Coke side of life
Wieden+Kennedy/
This is Real Art

Illustration for Coke side of life campaign

These images above are illustrations for Coke side of Life campaign. I was drawn to the bottom image first because of the use of bright colours and detail in it. You have to look closer to see that it is leaves emerging from the coke bottle. From a distance it looks like coloured bubbles, fizzing out of the top.
From looking at this image I then came across the top image, which was included in this series of illustrations. Instead of leaves coming out of the bottle, coloured pencils emerge from it. I think that this version in the campaign was aimed at younger people with the smiley face drawn on it compared to the other colourful image of leaves, which would be more appealing to adults.


www.non-format.com

Animation Booklet

To accompany this animation I also had to produce a booklet. I based this booklet around some of the interesting screen shots this animation had. I have made the booklet show the animation but there are parts, which don’t look right until you watch the animation. For instance, the rotating symbols could not be shown in the booklet so I place a darker symbol behind the front symbol to make it look like it was moving. I wanted to keep the reader guessing what was going to happen in the animation without telling them too much in the booklet.

My new Animation

In my new animation I decided to limit my colour scheme to black, white and red. I think these colours worked well together when I saw them in clip of other animations. I started with the same ideas of how the symbols come onto the stage as the original animation in this new version. But I added the alphabet into it after the symbol had formed. I made the alphabets appear fade out and then fade back in and reappears. I liked the way in my first animation that the copperplate symbol rotated side to side which looked like ish, so I decided to use this technique on all the ish symbols in this animation. I made other alphabets swing onto the page and flash on and off to make it look more interesting.

More Research

After showing my animation in a crit, we were asked to develop these animations to include the symbol and it’s alphabet together. We also had to improve our original animation.
So I researched more flash animations to help improve my animation. I began by researching Royksopp. The image at the top is a screen shot from his animation rewind me. It lasts for 4:15 mins. I like the way that it first looks like a 2d animation but then you start to zoom into things and there is a whole new part of the animation there.
The image below is called Kinetic Typography. It lasts only 25 seconds but it is very effective. The words flash up but in the background are words zooming from the background into the foreground and knocking the words. So it looks like the words are shaking.

My Animation

I had only used Flash once before, so as I was doing this project I was learning new things. I split my ish symbol into two pieces and only imported half of it into the Library in Flash so that I could experiment with the symbol more. I began the animation with the OCR A symbol flying in from opposite sides of the screen and around the page and each other. They then flew off the stage before spinning back into the centre to form the ish symbol. This sign then expanded and flashed before changing into the Copperplate Light design. This symbol then shrank and began to spin quickly until it became the Lucida Bright symbol. I imported the copperplate symbol and the Lucida symbol into the library as the full symbol so it was easier to spin the whole symbol around without it wobbling. But as the Lucida Bridge sign stops spinning I created two new layers and placed each side of the symbol on separate layers in the same places the whole symbol had been. By doing this I was able to split the sign and make each part go off the page in opposite directions. I next experimented by shrinking the background colour and then enlarging it again with the Arial rounded symbol in the centre. My animation then flashes again to reveal the final symbol,which was created in Tall Films.
I think I learnt a lot from creating this animation in such a short time. I learnt how to use the teen motion tool to make the animation flow and how to rotate my symbols.
I experimented with clashing colours but I think that the colour scheme could be improved by limiting my colour use to a maximum of three colours. My final animation lasted 34 second!

Animation Research

I have now been asked to use these five symbols I have just created to make an animation, which lasts more than 30 seconds and showcases all the symbols. I began by researching existing typography flash animations on youtube. The image at the top is an animation called ‘conscious’ which lasts 2:46 mins. I like the way the typography in this animation floats across the page and they have used a limited colour palette than doesn’t make it too busy. The image below it is just called flash animation and lasts only 38 seconds. I like the designer has not made the animation too complicated by using loads of different colours.

Tall Films

Finally I used Tall Films to create a very narrow and tall symbol. It looks good when it is next to larger type but I’m not sure it would be very clear if it was placed next to size 8 type.

Arial Rounded

The Arial Rounded version of this symbol reminds me of the feet marks left by birds in cartoons. This typeface makes the symbol look a lot softer than the original design.

Lucida Bright

The Lucida Bright Italic version of this symbol looks wind swept as it leans towards to the left. It gives the impression it has been spinning.

OCR A

This is the Arial Rounded version of the ish symbol reminds me of the feet marks left by birds in cartoons. This typeface makes the symbol look a lot softer than the original design.

Copperplate Light

Copperplate Light is a serif Typeface unlike Century Gothic, which I had first used to design this mark. I found Copperplate light difficult to use at first because it was difficult to place the centre line inside the v so it was central. But once I had placed it in the centre it looks quite good. It reminds me of an Ancient Greek symbol.

Redesign in 5 different Fonts

Next I was asked to chose one of the symbols I had created and redesign them in a further 5 different fonts. I chose to redesign my Ish mark in new typefaces.
Before I decided on the final typefaces to redesign this symbol, I experimented creating the symbol using the same process of taking part of the typeface and rearranging them to create the ish mark. I experimented with the typefaces Copperplate light, Copperplate bold, Arial Rounded mt bold, Gulim, Charlemagne Std, OCR A Tall films, Lucida Bright and Orator std. I chose Copperplate light, Arial Rounded mt bold, Lucida Bright, OCR A and Tall Films for my final 5

Ish Mark

I chose to design a punctuation mark for ish. I began by researching emoticons, which could be used to show ish, but I couldn’t find any that I could change the meaning of. So I began to think of the actions you make when you talk about an uncertain time. (E.g: lets meet at 8ish.) I rotate my hand from side to side and I used this as the basis of my design. The punctuation mark I designed is shown above. I created it using the letter V and I in this typeface and putting them together to show ish. It could also be used to show umpteen. Umpteen is an unspecified number and the tips of the arrows go pass each other so that there is no persific point they point at. I used the typeface Century Gothic again for this design because it was very angular, which ties in with the arrow, pointy shape of this ‘ish’ mark.

Sarcastic Marks

To help me design a symbol to show sarcastic I research sarcastic emoticons. These are images people create in communications such as text messages to show an emotion using punctuation characters. I found this emoticon ^0) which represents sarcastic on http//eloai.com/msn-emotiocons.php . I’m not sure how these characters together show sarcastic but I used them as the starting point for my design. I rearranged the symbols until I created a symbol, which looked attractive and unique. (Shown above) I used the typeface Century Gothic to construct this symbol. I decided to use this typeface because of the slim bracket mark in it, which was suitable to place the top of the letter A and a 0 together to make the symbol. I think that to look at this symbol you wouldn’t think it shows sarcasm but I think that once it was in use and people were told that this symbol shows sarcasm, that they would eventually know that it was sarcastic.

Punctuation Marks

I have now been ask to design a punctuation mark for sarcastic and either umpteen or ish. I began by researching punctuation marks used in different countries, such as Germany, France, Spain, Poland, Welsh, Afrikaan, Arabic and Slovakian. I learnt that symbols placed above or below a letter are used to hold a letter in a word when you are speaking and that punctuation marks such as question marks or quotations are placed at the beginning of a phrase. This tells the read what the sentence is about before they have got to the end.
While researching punctuation marks I came across these logo’s which have used these marks to create the logo.
The top image was designed in 2003 by Shinnoske inc, in Japan. It was designed for the breast team. It reminds me of emoticons used in text messages and emails.
The image below is the logo for the National Interpretation Service. It was designed in 2003 by Browns.

make your self a symbol for something

Using myself as a sign to represent something was really difficult. I used a photograph of myself and placed it in the centre of a red triangle. I distressed the photograph of myself by putting white lines through it and smudging the ink just after it had printed it out. I then scanned this image back into my computer. It made it looked like there had been a printing error. So I became a sign for a printer’s fault.
I think that I could have produced a better image to show myself as a sign if I was to do this project again.

Changing the meaning of a sign

For this sign design I chose the words ‘ Car Wash’ and changed the meaning of a carwash sign by placing it near a ramp leading into a dock. I originally used the warning quayside ahead sign shown above with the word Car wash underneath. But after talking to my lecturer I discovered that I need to use a sign and place it in a different context to change its meaning. I couldn’t place a real car wash sign next to a ramp, so I first took a photograph of a carwash sign and then took another photograph of a ramp. I then imported these photographs into Adobe Photoshop and cut out the shape of the carwash sign before placing it onto of the ramp photograph. Because I had took the photographs in different locations and at different times of the day, the lighting in the two pictures was different. To make them appear like they were taken together, I used the brightness and contrast tool on the carwash image and made it slightly darker to tie in with the dull light next to the dock. (Shown above centre) I also drew this image in illustrator using the pen tool. (Shown at the top) I think I could be able to improve this illustration by adding shading and colour into it.

Clipboard Chicane

For my Clipboard chicane sign I designed it in the shape of a triangle. This shape of sign is used on road safety warning signs. This clipboard chicane sign needed to warn you that there are people with clipboards ahead. The clipboard figure has type coming out of its mouth. I added it to show how these people call out to you, but when I showed it to other people they thought that the figure was swearing because the other figure was running away. I improved this design after a crit by adding a clip shape onto the clipboard to make it look more like a clipboard. Before it just looked like a piece of paper.

Ennui

From this research I had done on signage, I was asked to design four more signs, which could show Ennui, Clipboard Chicane, change a word to create a new sign which had a different meaning and make myself a sign for something.

I found than ennui means to be bored of everything, even though you have a lot to do. Yet you do something else instead. So the figure in the sign show ennui by them watching tv instead of doing the work and cleaning, which needed to be done shown around the seat. I think I could have improved this design by making it more simplistic and removing some of the clutter around the seat so it doesn’t look so busy.

'Do' signs

By researching these signs I was able to find signs, which showed do, don’t, passive, active, us, them, trustworthy, untrustworthy, Here and there.
I was then asked to pick one of the signs I had found to suggests these instructions and recreate it in Adobe Illustrator. I decided to recreate the litter-bin sign which I had used to suggest ‘do’. I learnt how to use the live trace tool, the pen tool and the pathfinder. I started by drawing a Blue circle and then using the pathfinder tool, which, allowed me to remove the shape of my symbol out of the solid circular shape. Blue circular signs give Positive instructions.

Signage & their Meanings

I began by researching public signs and markings than included no typography in them. When you encounter these signs, they give you a message and make you do or don’t do something. From looking at these signs I learnt about the meanings of signs and how the simplest of designs can have a better impact than more detailed signs. I learnt that circular signs with a red boarder give prohibited instructions.
Triangular signs with red boarders give warnings and signs that are yellow triangle with a black symbol on them are Danger signs.

Visual communication part 2

Peaches Geldof

Peaches Geldof is the final person I was asked to portray reading the soliloquy. I found it difficult trying to portray her. I found out that she was a DJ, a journalist and that she is known by the media, as a wild child and none stop partier. I decided to show the music part of her life in the soliloquy, so I chose a typeface called Feedback Loud, which I downloaded from http://www.dafont.com. It is a bold typeface with a sound wave travelling through the type. I experimented with my layout in clashing colour’s to show the wacky and weird side of Peaches and positioned the type on an angle to show how she doesn’t stick to the guide line she is suppose to abide by, set by her father Bob Geldof.

Amy Winehouse

The third person I portrayed reading the soliloquy was the one and only Amy Winehouse. She has Bipolar Disorder also known as Manic Depressive. In the media she is known for her drug use, overdosing, failed rehab, self-harming alcohol abuse and staggering on stage. I decided to try and show the self-harming and destruction aspect of her image. I used a typeface called Cracked. It is a typeace, which is quite bold like Amy is her style of clothes and make up. But when you look closer at the type, there are cracks in the letters. I wanted to make the layout of the typography look like slash marks so I positioned the type on different angles and crossed the type over, as well as using the Knife tool in InDesign to cut up more of the text. This make it look even more broken up and damaged

Brangelina

The next person I had to portray reading the soliloquy was Brangelina aka Angelina Jolie and Brad Pitt. I research their relationship on the Internet and in magazine and I got the impression that Brad follows Angelina in whatever she does. Since Brad has been dating Angelina he has a lot of humanitarian work that she has been doing. So in the version of the soliloquy I tried to show Angelina taking the lead and brad following. Angelina reads most of the soliloquy and as she comes close to the end, Brad jumps in and begins to read it. The type overlaps hereto show how close they are to one another. By using a different font or another typeface from the same family, I learnt that you could show different people talking.

Gordon Brown

I have now been ask to make another four version’s of Hamlets Soliloquy to portray four different people reading it.
The first was Gordon Brown. From Researching him, I found that he was quite a bold person and was dedicated to his family away from the public eye. I decided to use the typeface Hoefler Text because it is quite a bold typeface yet some of its characters are rounded and soft which shows his softer side.
Here is my interpretation of Gordon Brown reading the soliloquy.

I started by trying to make the layout similar to an official letter or speech that Gordon may have read out with his personal notes on the side, and faded the type on the left side to show how he is blind on his left side from a childhood accident.

The image below my design is a magazine article from Esquire magazine, which I came across after I had designed this page. It has a similar layout with the handwritten notes on the side. It reminds me of the notes people put on the side in their textbooks at school.

Modern Page Design

For my modern twist on Hamlet’s soliloquy, I tried to show the passion in Hamlet’s voice. When he raises his voice while saying this soliloquy, the type becomes larger and then smaller as he calms down and comes back to his senses. I think this design is quite subtle looking. It is only when you read it, that you notice that you naturally raise your voice when you read the larger type in the soliloquy.
This is my modern interpretation of Hamlet’s soliloquy.

Neville Brody

These two images were designed by Neville Brody. The image on the right is similar to what I would like to create in my work. I want to show the different emotions in Hamlet’s voice and I think that using different sized type next to one another would help to show this.
I’ve learnt a lot from looking at Neville Brody’s work. A good design does not have to have the type going across the page neatly. Good designs can have the type on it’s side, up-side down, overlapping or reflected
The image on the left also has different sized type in it, but I like the way that it is placed in the centre of the page with the type centrally positioned which gives it a modern feel. Rather than the left hand side with a straight edge which looks more classical.

Classical Design

So for my classical interpretation of Hamlet’s soliloquy, I used a typeface called Dukeplus because it looks handwritten and has a medieval feeling to it. I used a page size called Crown Octavo because it was not to big and I felt like this was a suitable size to design my classical interpretation to.
Here is my interpretation of the soliloquy classically shown below the top image. The image at the top is from Creative Review. it is a spread i found after i had designed this classical piece. From seeing this spread i have now learnt other way of creating a design classically.

Imperial Page sizes

When the first issues of Hamlet were published, they would not have been on A4 sized paper, because the size had not been invented. So I decided to research Imperial Page sizes. These are the measurements of some of the page sizes I researched

Crown Octavo – 5 x 7.5 inches
Royal Octavo – 6.25 x 10 inches
Imperial Octavo – 7.5 x 11 inches
A4 - 210mm × 297mm
Quatro – 10 x 12.5 inches

http://www.princexml.com/doc/6.0/page-size/

Hamlet

Hamlets Soliloquy is about his insecurities in life. He is unsure about weather to live or die and if he should commit suicide or not. I was asked to make this soliloquy look classical and modern.

I began by looking at 16th century manuscript for my classical design because it was around this period that Hamlet was written. I noticed that these scripts had ornate decorative letters at the beginning of the type and looked like they had been handwritten.
This ornate letter was from a book called Fancy Alphabets. (The Pepin Press, 2005, pg 77)

The top image shows a modern spread which has a classical feeling to it. i like the way the designer has placed it on an off white background which makes it look older.

Robert Tarbet

While researching magazine layouts and looking for images to use in my magazine, towards the end of this project, I came across this image at the top by Robin Tarbet in Blueprint. (Issue September 2007) Robin combines 2D work with photography, printmaking, film and 3D models. He created this image using LED’s sticks while the camera exposure was open. I think this image is a lot more interesting to look at than other images I placed in my magazine and if I had to do my magazine again I would use his work as my inspiration.
The images underneath are some of the other images in this collection.

Booklet Design

These are a selection of my best double page spreads in my booklet.
The first spread has numbers and symbols moving across the page like a computer code. It was inspired by the image below it from the film, the Matrix. I decided to carry on this code pattern throughout my magazine as the page numbers. I like the way the image spreads across both pages yet it doesn’t feels like it is overcrowded. Because the code pattern is set against a white background it feels like there is loads of space on the page.
The second layout is set on a grid of four columns. I have made the type the same width as the pixel images to make the spread flow.