Monday, 15 May 2017

Design Boards

Evaluation 


Colour

What have you learnt?

The module explores research from Josef Albers, Yves Klein, RGB v CMYK, and Pantone. Josef Albers explores graphic construction of line and space in his Homage series. The series explores relationships between colours to address meaning. Albers introduced information gathering through collecting objects and receiving colours from them. The colours produced are dramatic and mysterious.

Colour in printing qualities were introduced through CMYK and RGB. RGB deals with colours for the web juxtaposed against CMYK which deals with printed qualities. This allows a better finish and precise colour match. This has created understanding when using Photoshop and Illustrator.

Klein Blue is a handmade colour designed by Yves Klein. The colour was created into a trend where it was in high demand but this trend faced out. This introduces how colour is used with trends and how this effect graphic design. Good graphic design follows trends to fit into popular culture.

Pantone identifies colour through swatches. Pantone allows a wide range of choices of colour which helps expand design ideas. Information can be gathered through photographs relating back to Josef Albers’ experimentations. This leads to colour harmonies within the colour wheel. This reveals how colours are combined to create a harmony and contrast. Theories explored are complementary colour, analogous colour, Triad colour, and Split complementary colour.

How Have you used this?

For the self-branding brief, a colour palate was created through pantone. This was done to establish meaning towards the final design.

The Excel tea bag imagery was created for the Object brief 405, this introduces varied tones influenced by Josef Albers Homage series.

The Substrate project was a branding produced. The concept includes CMYK to relate to a printed format. The colours were then used to categories each section. RGB colours were used to identify the element of digital. This was used for a poster for the digital art festival.

Serpentwithfeet branding was produced for the theme of popular culture. The aspect of popular culture impacts colour at sticking for a set trend. The colours used are a relaxing blue and a burnt orange. This acts as a contrast and harmony of colour.

 
Lay out

The module explores composition layout. Layout is formed in a grid system created through columns. The first grid explored was the Marber grid system. This grid system was created my Romek Marber by creating a visual similar identity to all penguin crime books. The grid helps section and separate type and image to create a continues theme and flow.  

Grid helps control the rationale for each design. Grids are used to solve problems; different grids are used for working with size layouts. There are various grids within graphic design: column grid, modular grid, and hierarchical grid. These grid systems are used in Magazine and Newspaper layouts. Other column grids explored are: single column grids, symmetrical double spread, Asymmetrical double spread, Hieratical grid, Multicolumn grid. These grids can be divided using a hang line which divides text and image.

In Graphic design, layout can be explored through braking the grid. An example of this is through designer David Carson, where his work explores braking the grid system. This could perhaps be overcomplicated but on the contrary, be individual and unique. As a designer, this skill has been developed through sketchbooks. The use of a grid system and a structure is applied. Further Research into Unit Edition has expanded knowledge on Graphic design and how layout and space has been used.

For the branding brief, our task was to design the layout of a catalogue. The layout considered braking the rules through overlapping imagery. The layout was separated into two columns, a symmetrical column grid method was used for a double spread. This shows clarity and unity within the brochure. For the title pages, the type was separated into 3 columns composing into a centred position.

The image on the right is a design for the digital art festival. The layout was structured into a map of where the event was allocated.

Type

The investigation of type is through exploring key terms in the atomy of type. The typeface is the design and the aesthetic. Different designs of the same character are known as a Glyph. When considering logo design lettering is used for a set word not an alphabet, this is usually display lettering.

Layout within type includes a structure of a grid including three lines: cap height, x height, and baseline. Ascenders is any part of a lowercase letter above the x-height. In addition to descenders is any part of a lowercase letter below the baseline. A terminal is the end of a stroke.

Fonts are the same even when it is italic, bold, thin, regular. Italic is found in serif type and is handcrafted. Italic is designed to create a compressed approach towards a basic shape letter. Oblique is slanted typeface created mechanically rather than drawn and crafted.

A serif is a small line attached to the end of a stroke in a letter. On the contrast, a san serif is a letterform without a serif. Different types of serifs such as Transitional, Didone, Slab serif, Latin wedged serif.

The investigation of different fonts such as Bodoni, Garamond, Futura, Times New Roman, Helvetica, Century, Caslon, Univers, Clarendon, Berthold.

Bodoni is a typeface which is slightly condensed underlying structure with flat serifs which juxtapose thick and think strokes and an overall geometric structure. Bodoni was designed by Giambattista Bodoni. Bodoni was inspired by Baskerville font. Designed in the late 18th century. The typeface is known as a transitional typeface. The classical typeface is known to be elegant and is used in the elite industry such as restaurants and fashion.

Futura is a geometric sans serif typeface designed by 1927 by Paul Renner. The designs were based on geometric shapes. The typeface includes a simple geometric form, as well as the lowercase has a tall ascender. The uppercase acts similar to classical Roman capitals.

Helvetica is a widely-used sans serif typeface created in 1957 by Swiss typeface designer Maz Miedinger with collaboration from Eduard Hoffman. Helvetica is the most popular typefaces in the 20th century.

Univers is a sans serif typeface designed by Drian Frutiger in 1954. The typeface is a classic typeface. It was released in 1957 the same year as Helvetica. The typeface form is consistent and contains a range of styles and weights.

Times New Roman is a serif typeface commissioned by ‘The Times’ in 1931, created by Victor Lardent. Times New Roman creation took place through influence of Stanley Morison of Monotype. Morison was an informal adviser to ‘The Times’, who recommended that they change the typeface. The new design made debut on the 3 October 1932. After the release of the font, the design stayed with ‘The Times’ for 40 years. Due to new production techniques, by 2004 the newspaper has switched typefaces five times since 1972. However, the new releases of fonts have been variants of the New Roman typeface. In commercial sale, Times New Roman became extremely successful, becoming Monotype’s bests selling typeface of all in metal type. 

The first module explored the contextual understanding of type. The brief was to produce a logo influenced by a set typeface. The typeface chosen was Futura, as the company was a men’s clothes store. The logo was in capitals to identify intimidation and power. A closer Kerning was used to reflect a bulky aesthetic. Images of stars reflect the contextual understanding of the word ‘Embattle’. The final outcome was produced digitally. Throughout other projects, the type explored has been digitally as typefaces are more refined and accurate.

Final Designs

The research stemmed from investigating Book binding stitches through workshops. Stitches explored were: saddle stitch, section sewing, pamphlet binding, Coptic binding, Japanese binding, screw-post binding. The production of the booklets used pamphlet stitch and saddle stitch.

The outcome of the colour booklet included the investigation of colour exploring: Josef Albers, Yves Klein, RGB v CMYK, pantone, and colour into graphic design, colour harmonies.

The Format could be developed further by printing onto better quality paper. This could be the same constancy of paper to create a theme and continuation; printed on 3gs paper, which is a grey tone. The use of grey identifies the theme of what is colour. The front cover could be printed onto card to create a hard-back feel. This could be further developed by creating a hard-back book.

The binding could be developed by it being sewn using the aesthetic of threads to represent the purpose of hand made to identify handcrafted colours.  

Colour could be explored further; perhaps use colours from Josef Albers homage series painting. Therefore, the colour will have more purpose and meaning. These colours are harmonies so will contrast better. The colour harmony explored within the booklet are complementary.

The typeface is Helvetica. The typefaces could be varied, using Bodoni to establish an elite, elegant approach towards colours. Univers could be adapted to create a clarity. The typeface within the booklet needs to be developed further as the type looks placed on the page, without an intention or meaning.

This stems to the layout needing further development. Perhaps layout could be explored through a three-column grid. This will create a magazine aesthetic which will be more visually exciting. The grid needs to be varied rather than just a centred composition for each page. Perhaps braking the grid by applying layering such as opacity of colour blocks to reflect the different possibilities of colour.
  
Designing 3 slip covers using the Marber Grid by Romek Marber.

The Layout needs more work, this could be expanded by applying a background to structure the design. The designs look minimalistic. The designs only use one element of the grid, perhaps expand this by using other lines within the marber grid.

The case of the caretaker’s cat design: the style of drawing perhaps does not fit the theme of crime however reflects my style as a designer. Colour could be applied perhaps sticking to the theme of green, white and black to reflect mystery. Dark tones would be more appropriate. Perhaps the designs could be inverted to create a horror feel.

The typeface used is Helvetica, it is clear and creates a fluent rhythm towards the title.

For the Night of Wenceslas: the concept could be developed of postcards of Prague. This could be scanned and illustrated to create a fluent theme and purpose.

The Maltese Falcon design could include more elements to develop the design further. The use of medium works effectively at initiating the sensitivity towards the crime story.

Designing a poster for an exhibition

The use of colour includes meaning and purpose of seasons. As the exhibition is set in the summer the colours chosen are warm and harmonies.

The black is used as a refinement, it ensures the type stands out and is simple not overpowering. The title is placed half off the image and background to include the idea of braking the grid. This establishes character and individuality towards the design. It also reflects creativity as it is an art exhibition.

The type could be developed further by applying more information of where the venue is and what days it is set. The poster could be developed further by applying more layout compositions and creating it in a sense of a catalogue to advertise the various artist.

Format could be developed further by printing onto a gloss finish as this will be durable. It could perhaps be printed onto grey paper to create a sense of a background. It could be printed onto poster paper to see what the design looks like in context.


Format

Format is considered when producing the final outcome. To develop the outcome further the format has to relate to the context of the project. For instance, if the project was about organic lifestyle, the format would be printed onto recycled paper to establish the organic nature. The outcomes can be produced in digital print. There are a variety of materials to choose from: Satin, matt, Harman, clear, tracing, kodatrace, acetate, laser, canvas, Tyvek, banner, and DIGI wallpaper. Different types of Paper can be explored through printing and photocopying. The files for the digital rooms are formatted at the correct size and must be 300DPI. The file types are: JPG, TIFF, PSD, PDF.


 For the object brief, the object focused was a teabag. Therefore, when creating a booklet, the paper considered had to relate to teabags to create a contextual meaning. The use of tracing paper and layer paper relate to the filter paper used for teabags, as they have a delicate characteristic. The pink sugar paper relates to teabag flavours; this creates a theme towards the booklet.


Design boards






https://issuu.com/naailahussein/docs/404_design_boards_1 

Final Evaluation 

The module has helped gain skills. These skills have been developed through colour, typography, format, layout, and visual literacy. This was developed through communication outcomes. This was shown through book cover designs, poster, and booklets.

I have gained knowledge on colour through pantone and CMYK v RGB. This has helped design decisions for other modules, and created more sense when working digitally. Layout has played a huge impact in making things clearer as my designs would be too over welling due to a lack of confidence. Layout was experimented through sketchbooks, where grids were used. This has helped gain confidence when developing booklet outcomes.

Knowledge of typography has developed through researching into different fonts. This makes sense of working with contemporary fonts and traditional fonts. Also, the use of fonts has to relate to context which has developed my work further trough out the course. The use of format relates to the contextual meaning, which ensures each design decision has a meaning.

Visual Literacy is the ability to construct meaning from visual images and type. It also interprets images of the present, past and a range of culture. Visual Literacy produces images that are effectively communicate a message to an audience. The definition of visual literacy is the ability to interpret, negotiate, and make meaning from information presented in the form of an image. This was shown through visual outcomes where I have explored image and type.

No comments:

Post a Comment

Fashion and Graphic design

Blanchard, T (2004) Fashion & Graphics, 2004, Harper Collins Secondary Research to help identify the link between Graphics design a...