I am going to name my publication 'Square Eyes' because it is a common adjective to describe eyes supposedly affected by excessive television viewing. This relates to my concept because people tend to solve briefs using purely digital solutions. 'Square eyes' was often used to scare children into not watching too much television, however I have adapted this to suit first year graphic design students.
I want to give the students a positive mindset when starting the course as negativity often slows the creative process. To achieve this, I am going to consider using motivational statements that I can translate using techniques and processes from the college and ultimately give them the confidence to use hands on processes.
'Welcome to our world'
'Hands on'
'You are 1 of 650'
Prime selection
Be practical
Proactive
Analogue
Research into publication design:
In order to inspire creatives, I aim to make my publication as engaging as possible. By demonstrating techniques and processes that digital can't replicate will inspire creatives to be more practical with their design.
Line As A Climax
Designed by teksture, the front cover is engaging as it has been cut off to reveal pages below:
This provides opportunity to combine compositions and stimulate the audience with a range of stocks and textures. This is a unique publication because it has bespoke prints included inside the publication. I can use this to benefit my publication because having real prints and examples of each technique will inform the audience and also make it more engaging.
As a response to this, I began experimenting with the form and function of my publication:
By pushing the form and function of a small publication, I aim to inspire the students to be hands on because it is bespoke and demonstrates what can be done when exploring materials.
Using two stocks for the cover highlights the title because the black and white is contrasting. As an example, I chose a baby blue stock and cut it down so that the title is highlighted. This also provides opportunity to place content underneath the blue stock so when the page is turned it reveals more information.
NEST Magazine
Photographing a new copy of NEST magazine inspired me to explore new page construction. Having half the page visible makes it easy to associate the visuals on the page with the copy on the half page:
If I was to take this concept further, I can crop some monoprints so that there is colour on one side and white on the other, this will be for the text on the other side.
Escape Plans
MONOPRINT
In order to give the first year students examples of what they could do away from the computer, I monoprinted some textured compositions printed on coloured stock:
Monoprinting is a simple and effective technique that creates texture and tones which can add depth to a composition, making graphics more engaging. Although they are very dull, the fragile lines and graduated tones provide surface texture.
Eike Konig
Researched into Konig to gain inspiration for typography:
Konig is a German designer who is well known for his rebellious use of typography. He often uses relief printing and typesetting techniques to create his compositions which gives him freedom to explore composition. Manipulating the type gives the words more emotion which ultimately grabs the audiences attention. This is appropriate for my outcome because I aim to inspire the new students and if the content is engaging I am more likely to achieve this.
Konig has teamed up with People of Print to produce a Posterzine:
The purpose of the posterzine is to showcase Konig's work. Again this is a really strong example of informing the audience in an engaging and contemporary way.
A Posterzine would be an appropriate way to present my information and content because it provides opportunity to have a large poster accompanied by other pages once the poster is folded. Content can go on the back and the front.
I can use the zine element of the poster to provide information and advice on techniques and processes to encourage the first years to be expressive using visuals and motivational copy. Eike Konig's posterzine for People of Print is A1 and then folded down three times into an A4 cover. These pages provide informative content alongside visuals.
When the posterzine is unfolded it reveals a double sided spread that the owner can pin up on their wall. This will be appropriate for my brief and first year students because they'll have something to take away from the first days of uni to inspire them. Moving into new halls can be a stressful process, however the poster can be pinned to the wall to provide comfort and inspiration.
Creating a Posterzine provides opportunity to use my collages to create engaging and contemporary imagery to accompany the information. This will allow me to show examples of an expressive process due to the varied texture and tones.
RAVE ART
As I have decided to create a poster, I went to the library to find some books to use as inspiration.
Looking for potential combinations of text and image/shape:
FEEDBACK
Presented my publication and posterzine concept to members of the class and asked them which one they thought would be more engaging and beneficial for the students.
The majority of people said that the posterzine concept would be appropriate and friendly because they can take the poster away and put it on their wall in halls. They also said that I should be playful with the content in order to make my publication inspiring.
TECHNIQUES AND PROCESSES
I originally aimed to use analogue processes to create my outcome, however due to the scale of my poster I have decided to digitally create it but use images of analogue outcomes such as my monoprints. This will make reproducing the posterzine cheaper and more time efficient.
TYPOGRAPHY
Used influence from my research into Konig and found Univers LT Std - 67 Bold Condensed:
When captitalised, Univers is very geometric and balanced which means it can be manipulated easily, especially when typesetting. The typeface is also very legible on a range of scales which is appropriate for a poster.
EXPERIMENTS
Used the lexis 'square' as inspiration so that the audience recognises the typesetting reflecting the word which will hopefully inspire a different way of thinking.
Reflecting 'EYES' creates a simple oval shape due to the negative space which I took advantage of by adding a pupil. This takes advantage of the negative space, even though it doesn't immediately look like an eye, the circle helps to give the type placement as it is a focal point.
COVER
Combined both concepts by layering squares over the type which adds more perspective which ultimately makes the cover more intriguing. Layering the type with the squares is an example of how typesetting doesn't have to be restricted, it can be an expression and hopefully the first years will recognise this:
By contrasting the straight edged boxes with the circular pupil reflects the work of Vladimir Mayakovsky:
Having a combination of fill and no fill creates contrast for certain words, this is something that I can explore for other typography in my outcome. No fill makes the characters subtle which would be appropriate for busy compositions because it won't overpower the space.
First page:
Vladimir Mayakovsky
This makes the type stimulating to read because of the high contrast and it looks like the type is being dipped into a liquid which suggests hands on processes such as painting and printing.
Typesetting on a path again, inspired by Eike, in order to show an example of 'creative' typesetting:
Provided a list of techniques and processes that the college had, sourced from the colleges website and what I have seen/used.
Aligning the type in the centre creates an inconsistent rag on both sides of the text box. I thought about justifying the type fully, however the text creates negative space, due to the symmetrical rag, which works well with the rest of the content on the page.
Using Photoshop, I chose sections of my monoprints to that have interesting texture and tonal range. I didn't like the blue and pink coloured stock that I printed on because ink didn't contrast. As a result, I adjusted the scans to make them black and white.
Harsh lines (above) contrast with softer and fragile lines and tones:
Layered a warped composition over the top of one of my monoprints:
*Combining digital and analogue techniques
Created a liquid effect to add more surface pattern because just using the monoprints may look too flat on the same page. This adds a bit more depth.
Decided on this composition:
Giving examples of textures and typesetting will inspire first years to push the boundaries of design once they have learnt the design principles.
In order to inspire the first years, I used a friendly yet informative tone of voice and aimed to fit the text on the first page:
Tried a simple layout that has a lot of white space. Also added a cut out from a monoprint to make it balanced, however considering the page is about creative minds, I aim to engage with the audience.
Combined the two pages onto one page:
Used a grid system so that the information lined up, creating consistency over the double page spread. I also made an allowance for the fold, making sure that all the information was centred when open and closed.
I manipulated the angle of the text so that it ran diagonally alongside CREATIVE, taking advantage of the space available.
BACK PAGE:
Took advantage of the 9x9 grid system, setting the type in three columns so that the composition is balanced. Used times bold for the headings and regular for the body of text which is formal and represents typesetting. I would have liked to have hand typeset using letterpress, however this would make reproduction harder and I am limited on time.
The text is there to advise the students about being proactive and engaging with the colleges facilities, staff and pupils. Added a large section of a monoprint to cover the majority of the page which is visually appealing and intriguing.
Put layout together, taking note of my mockup to make sure the top two pages are upside down. Seeing the whole composition together made me consider using a touch of colour to compliment the monochromatic colour scheme.
Added a hint of green inspired by Dimashiryaev as it has a black and white colour scheme also.
I decided to keep the colour scheme consistently monochromatic because I don't have time to experiment with colours and overlaying. I am pleased with the standard so far and I don't want to risk rushing the addition of colour if I'm not certain it benefits the composition. Black and white is associated with print media as well and I have carried this theme on into my composition. The type alongside the tones and textures make the composition look like it's from a traditional printing press.
I want to use inspiration from Konig and produce a typography composition that features alongside the visuals. This is give students a message and also give them an example of post-modern graphic design that combines both text and image.
I am also taking inspiration from David Wolske's use of typography:
By cropping the letterforms makes the audience guess what it's going to say from the negative space created by the white and black lines. I tried this with the word 'print':
Set out like in a consistent grid:
Complimentary colours:
FINAL CHOICE:
Chose the composition below because it demonstrates a range of typesetting techniques, as well as monoprint and pattern. The composition is also very balanced as I was conscious of overcrowding it. Added 'ANALOGUE' with no fill because it is subtle against the blocks of heavy texture. By overlapping some of the shapes with the type creates depth and contrast.
Printing Method:
Digitally printed onto A2 paper so that it folds into an A4. I aimed to print my publication on a 135gsm white stock with matt finish so that the publication folds easily without cracking the ink and also so that it stays folded. However when I went to the print room the only stock available for a double side A2 print was 220gsm matt stock. However, after looking at the stock it was appropriate because it was still flexible. Using the bone folder was also a really beneficial technique as it gave me a smooth and tight fold.
Prepared my content well because all the images are still sharp and I made sure I set the type on InDesign to get a professional composition and print and I am really pleased with the print quality. Seeing the publication on this scale made the type more prominent alongside the visuals.
The thick stock couldn't handle the stress of being folded so tight:
I should have researched into this before heading straight to the print room and if I had planned better, I could have put my design onto an A1 piece of stock, which has more choice of stock, and then trim it down.
In order to inspire creatives, I aim to make my publication as engaging as possible. By demonstrating techniques and processes that digital can't replicate will inspire creatives to be more practical with their design.
Line As A Climax
Designed by teksture, the front cover is engaging as it has been cut off to reveal pages below:
This provides opportunity to combine compositions and stimulate the audience with a range of stocks and textures. This is a unique publication because it has bespoke prints included inside the publication. I can use this to benefit my publication because having real prints and examples of each technique will inform the audience and also make it more engaging.
As a response to this, I began experimenting with the form and function of my publication:
By pushing the form and function of a small publication, I aim to inspire the students to be hands on because it is bespoke and demonstrates what can be done when exploring materials.
Using two stocks for the cover highlights the title because the black and white is contrasting. As an example, I chose a baby blue stock and cut it down so that the title is highlighted. This also provides opportunity to place content underneath the blue stock so when the page is turned it reveals more information.
NEST Magazine
Photographing a new copy of NEST magazine inspired me to explore new page construction. Having half the page visible makes it easy to associate the visuals on the page with the copy on the half page:
Sketched out some possible variations of the half page:
If I was to take this concept further, I can crop some monoprints so that there is colour on one side and white on the other, this will be for the text on the other side.
Escape Plans
Daniel Zender
Contains 16 new short comics, + some experiments, drawings, paintings, etc, from 2015.
Printing straight onto coloured stock can soften the tones to make the content friendly for the audience. Zender's page composition and designs compliment each other to make the zine engaging and entertaining.
Copy
Thinking back at the modules set throughout the year, I found Design Principles inspired me to use a range of techniques and processes which I then brought into other modules and studio briefs. I found this benefitted my concepts and creativity with processes and materials. Looking back at the design principles briefing I can use this to inspire content for this brief:
'Visually explore'
'Visual literacy'
Tone of Voice:
I aim for my tone of voice to be friendly but informative by using emotive punctuation. This will give the new students confidence. Example:
'You have the ability to solve problems, innovate new concepts and explore new mediums. However, it's important to remember that creativity is allowing yourself to make mistakes. The award winning facilities available are there to aid and improve your journey into the creative world, so try not to shy away behind a laptop screen all day, stretch your creative mind!'
MONOPRINT
In order to give the first year students examples of what they could do away from the computer, I monoprinted some textured compositions printed on coloured stock:
Monoprinting is a simple and effective technique that creates texture and tones which can add depth to a composition, making graphics more engaging. Although they are very dull, the fragile lines and graduated tones provide surface texture.
Eike Konig
Researched into Konig to gain inspiration for typography:
Konig is a German designer who is well known for his rebellious use of typography. He often uses relief printing and typesetting techniques to create his compositions which gives him freedom to explore composition. Manipulating the type gives the words more emotion which ultimately grabs the audiences attention. This is appropriate for my outcome because I aim to inspire the new students and if the content is engaging I am more likely to achieve this.
Konig has teamed up with People of Print to produce a Posterzine:
The purpose of the posterzine is to showcase Konig's work. Again this is a really strong example of informing the audience in an engaging and contemporary way.
A Posterzine would be an appropriate way to present my information and content because it provides opportunity to have a large poster accompanied by other pages once the poster is folded. Content can go on the back and the front.
I can use the zine element of the poster to provide information and advice on techniques and processes to encourage the first years to be expressive using visuals and motivational copy. Eike Konig's posterzine for People of Print is A1 and then folded down three times into an A4 cover. These pages provide informative content alongside visuals.
When the posterzine is unfolded it reveals a double sided spread that the owner can pin up on their wall. This will be appropriate for my brief and first year students because they'll have something to take away from the first days of uni to inspire them. Moving into new halls can be a stressful process, however the poster can be pinned to the wall to provide comfort and inspiration.
Creating a Posterzine provides opportunity to use my collages to create engaging and contemporary imagery to accompany the information. This will allow me to show examples of an expressive process due to the varied texture and tones.
RAVE ART
As I have decided to create a poster, I went to the library to find some books to use as inspiration.
Looking for potential combinations of text and image/shape:
FEEDBACK
Presented my publication and posterzine concept to members of the class and asked them which one they thought would be more engaging and beneficial for the students.
The majority of people said that the posterzine concept would be appropriate and friendly because they can take the poster away and put it on their wall in halls. They also said that I should be playful with the content in order to make my publication inspiring.
TECHNIQUES AND PROCESSES
I originally aimed to use analogue processes to create my outcome, however due to the scale of my poster I have decided to digitally create it but use images of analogue outcomes such as my monoprints. This will make reproducing the posterzine cheaper and more time efficient.
TYPOGRAPHY
Used influence from my research into Konig and found Univers LT Std - 67 Bold Condensed:
When captitalised, Univers is very geometric and balanced which means it can be manipulated easily, especially when typesetting. The typeface is also very legible on a range of scales which is appropriate for a poster.
EXPERIMENTS
Used the lexis 'square' as inspiration so that the audience recognises the typesetting reflecting the word which will hopefully inspire a different way of thinking.
Grid of type repeated makes the statement harder to read so the audience has to actually look for the words. Set the type again in a square:
If I decide to take this concept further I will use a grid system so that I am accurate and consistent.
Used the type on path tool to ark the type, this was inspired by Konig as it often suggests movement, making the content engaging:
Instead of a circular pupil, the square relates better to the statement:
COVER
Combined both concepts by layering squares over the type which adds more perspective which ultimately makes the cover more intriguing. Layering the type with the squares is an example of how typesetting doesn't have to be restricted, it can be an expression and hopefully the first years will recognise this:
By contrasting the straight edged boxes with the circular pupil reflects the work of Vladimir Mayakovsky:
The combination of type and shape is layered which adds tone and texture to the composition. I kept my shapes simple and consistent so that the type was still legible because it's effort to read already.
Removing the fill and increasing the stroke of the type:
Having a combination of fill and no fill creates contrast for certain words, this is something that I can explore for other typography in my outcome. No fill makes the characters subtle which would be appropriate for busy compositions because it won't overpower the space.
First page:
Vladimir Mayakovsky
Mayakovsky's typesetting suggests movement due to setting the type at an angle. I aim to use this as inspiration for setting 'creative' which is appropriate for the meaning of the word. I used a 9x9 grid system so that I could accurately set the type and leave a consistent gap between each character:
Highlighting offset type splits the characters by contrasting the colours:
This makes the type stimulating to read because of the high contrast and it looks like the type is being dipped into a liquid which suggests hands on processes such as painting and printing.
Typesetting on a path again, inspired by Eike, in order to show an example of 'creative' typesetting:
Composition is balanced due to the consistent spacing between characters and text size. This would be appropriate for my outcome because there's space on the left and right to add further text and imagery, as well as showing an example of expression through type.
2nd Page
Provided a list of techniques and processes that the college had, sourced from the colleges website and what I have seen/used.
Aligning the type in the centre creates an inconsistent rag on both sides of the text box. I thought about justifying the type fully, however the text creates negative space, due to the symmetrical rag, which works well with the rest of the content on the page.
Using Photoshop, I chose sections of my monoprints to that have interesting texture and tonal range. I didn't like the blue and pink coloured stock that I printed on because ink didn't contrast. As a result, I adjusted the scans to make them black and white.
Harsh lines (above) contrast with softer and fragile lines and tones:
Layered a warped composition over the top of one of my monoprints:
*Combining digital and analogue techniques
Created a liquid effect to add more surface pattern because just using the monoprints may look too flat on the same page. This adds a bit more depth.
Decided on this composition:
Giving examples of textures and typesetting will inspire first years to push the boundaries of design once they have learnt the design principles.
In order to inspire the first years, I used a friendly yet informative tone of voice and aimed to fit the text on the first page:
Tried a simple layout that has a lot of white space. Also added a cut out from a monoprint to make it balanced, however considering the page is about creative minds, I aim to engage with the audience.
Combined the two pages onto one page:
Used a grid system so that the information lined up, creating consistency over the double page spread. I also made an allowance for the fold, making sure that all the information was centred when open and closed.
I manipulated the angle of the text so that it ran diagonally alongside CREATIVE, taking advantage of the space available.
BACK PAGE:
The text is there to advise the students about being proactive and engaging with the colleges facilities, staff and pupils. Added a large section of a monoprint to cover the majority of the page which is visually appealing and intriguing.
Put layout together, taking note of my mockup to make sure the top two pages are upside down. Seeing the whole composition together made me consider using a touch of colour to compliment the monochromatic colour scheme.
Added a hint of green inspired by Dimashiryaev as it has a black and white colour scheme also.
Also tried red because it contrasts well on white and adds a mid-tone between white and black.
I decided to keep the colour scheme consistently monochromatic because I don't have time to experiment with colours and overlaying. I am pleased with the standard so far and I don't want to risk rushing the addition of colour if I'm not certain it benefits the composition. Black and white is associated with print media as well and I have carried this theme on into my composition. The type alongside the tones and textures make the composition look like it's from a traditional printing press.
POSTER
I want to use inspiration from Konig and produce a typography composition that features alongside the visuals. This is give students a message and also give them an example of post-modern graphic design that combines both text and image.
I am also taking inspiration from David Wolske's use of typography:
By cropping the letterforms makes the audience guess what it's going to say from the negative space created by the white and black lines. I tried this with the word 'print':
Made a list of things that I can say to inspire/advise the first years:
'I MAKE MISTAKES' - was a good phrase to play with because the letters create a pyramid which would make the composition visually engaging.
'GET PHYSICAL' - Will inspire the students to use creative processes other than a Mac or PC.
'HANDS ON'
'DIRTY HANDS'
Decided on dirty hands because that is the result of working with processes such as print, painting and workshop materials. This is an informal tone of voice which is appropriate for the poster which aims to entertain and inspire.
Used the rise tool to add movement, I then increased the stroke to add density to the type making it look sturdy but emotive which is appropriate for the task.
Started to combine it with the monoprints:
Attempted to add colour but I couldn't make an informed decision as to why or what to create.
Set out like in a consistent grid:
Complimentary colours:
FINAL CHOICE:
Chose the composition below because it demonstrates a range of typesetting techniques, as well as monoprint and pattern. The composition is also very balanced as I was conscious of overcrowding it. Added 'ANALOGUE' with no fill because it is subtle against the blocks of heavy texture. By overlapping some of the shapes with the type creates depth and contrast.
Printing Method:
Digitally printed onto A2 paper so that it folds into an A4. I aimed to print my publication on a 135gsm white stock with matt finish so that the publication folds easily without cracking the ink and also so that it stays folded. However when I went to the print room the only stock available for a double side A2 print was 220gsm matt stock. However, after looking at the stock it was appropriate because it was still flexible. Using the bone folder was also a really beneficial technique as it gave me a smooth and tight fold.
Prepared my content well because all the images are still sharp and I made sure I set the type on InDesign to get a professional composition and print and I am really pleased with the print quality. Seeing the publication on this scale made the type more prominent alongside the visuals.
The thick stock couldn't handle the stress of being folded so tight:
I should have researched into this before heading straight to the print room and if I had planned better, I could have put my design onto an A1 piece of stock, which has more choice of stock, and then trim it down.
No comments:
Post a Comment