METHODOLOGY OF THE EDITION: 50X50=75 Exhibition

Methodology of the Edition: 50×50=75 is an international printmaking project consisting of a box set of 75 editioned original prints by 75 staff and students from three universities and three countries; University of Brighton, Nagoya University of Art (NUA), and King Mongkut’s Institute of Technology, Ladkrabang, (KMITL) Thailand.

The project offered students and staff the same task; to produce a printed image on paper dimensions of 50x50cm using any print media from traditional, digital and hybrid processes. This opportunity to share creative learning, through creative approaches to printmaking and to engage with cross-cultural exchange has enabled student-staff interaction through professional educational opportunities and real world challenges. In keeping with ‘Practical Wisdom’ of Strategic Plan 2016-21 this is an example in which ‘our research and learning are informed by real world challenges and opportunities’.

In Edward Street today I visit the Methodology of the Edition. I particularly enjoyed this exhibition due to my interest in print as well as in Asian design. Furthermore as my current materials, processes and art of the accident project focuses on the use of print to produce imagery this exhibition has helped to inspire me about possible techniques to utilise now or in the future.

Below are a selection of my favourite prints from the exhibit.


 

Semester 1 Results and Reflection

This week I received my semester 1 results along with written feedback on what I did well and what I can improve on in the future. My results were extremely positive, I passed the semester and was praised on my work. This came as a surprise to me as before the assessments we had not received any mock grades and we weren’t show any work from previous years with their accompanying grade, therefore I had no idea what to expect in terms of how harsh the marking would be.

There were two main areas highlighted as needing improvement in the future, luckily however they are both easy things for me to do. The first improvement is to include more day-to-day examples of work in my archives, for example collecting typography from shops I walk past for my typography archive. Furthermore in my archives I should begin to include aspects of my own personal interests regarding the topic of that archive.

The second improvement is to do with my craftsmanship. The presentation of my semester 1 work was regarded as good but the crafting could have been tidier. This was a problem I noticed just before the deadline for semester 1, I believe this was because for some projects I mounted my final outcomes early in the year when my craftsmanship skills were not as good as they could have been, therefore in the lead up to semester 1 I didn’t not remount this work and they remained rougher than work that I mounted later on in the year. For semester 2 however I intend to get all of my work ready for presentation at the end of the year, by mounting all of the work at once I will ensure that all of the work is consistent in terms of skill and materials.

Screen Printing Induction

20/01/2017

Coating

  1. Choose a clean trough with no damage that is an appropriate size (within the area of the mesh)
  2. Clip on trough ends
  3. Hold trough in the palm of your hands with your fingers resting on the trough ends
  4. Pour an even amount of photosensitive solution throughout the trough
  5. Coat the back of the frame first
  6. Start 1cm from the bottom of the mesh
  7. Tilt the trough until the emulsion touches the screen
  8. Progressively stand whilst applying the emulsion
  9. Stop 5cm from the top of the screen, remove the angle of the trough and carry on moving the trough upwards for the remaining distance to ensure no drips

Drying Cabinet

  1. Place screen frame side up on the ridge
  2. Coated screens at the top of the cabinet, wet screens at the bottom

Cleaning

  1. Rinse the front of the screen
  2. Remove the unexposed emulsions from the back of the screen
  3. Can use a rag to remove any emulsion that won’t come off
  4. Rinse the front of the screen again
  5. Use a window wiper to remove any excess water
  6. Put back into the drying cabinet

Designing

Screenprint Design

For my design I used a photograph from my transmogrify contact sheet. As our final prints would consist of 2 or 3 colours we were recommended to choose images that could simply be split into 2 or 3 layers, therefore I believed that the simple geometric forms and monochromatic colour scheme of this image would make for an effective print. To get the image ready for print I made the image grayscale, increased the levels and printed it onto acetate as a 300dpi TIFF file. For the next layer I traced the black forms from the initial image onto acetate, I draw these forms on roughly with black ink to create texture. For my final layer I made simple lines onto another piece of acetate to highlight some key forms in the image.

Printing

  1. Fix the frame into the jaws
  2. Screw the bolts onto the corners of the frame
  3. Check the snap and adjust as needed
  4. Attach squeegee, make sure it is in the centre of your design
  5. Adjust the angle of the squeegee for printing and flooding
  6. Register
  7. Adjust the table if needed
  8. Apply a generous amount of ink (printing ink should be 50% paint, 50% mixing medium roughly)
  9. Test print
  10. Make any adjustments
  11. Can use screen filler to fill in any holes in the print on the screen
  12. Print
  13. Flood after each print to prevent the screen from blocking
  14. Don’t flood on your last print
  15. Wash the screen, squeegee and any other materials

You Say You Want a Revolution? Records and Rebels 1966-1970 Reflection

Essay

In December last year I submitted an essay as part of my cultural and critical studies module. This essay was looking at the how the information presented in text at an exhibition supports the key ideas and concepts presented within an object on display. The exhibition I chose to analyse for my essay was “You Say You Want a Revolution? Records and Rebels 1966-1970” which was hosted at the V&A, which looked at the many revolutions that occurred in the sixties and their influence on fashion, music, film, design and political movements. The focus of my essay was a series of four psychedelic posters by ‘Haphash and the Coloured Coat’, I analysed how the information presented in text supported the ideas of psychedelia, the influence of psychedelic drugs at the time, and how members of society in the sixties were searching for new ways of freeing their mind.

Today I was given by my essay along with my grade which was a B. I am very proud of this grade as it had been a year since I last wrote an essay and I initially struggled trying to structure and word my essay in a cohesive, reflective and analytical way. There will be another essay brief set in semester 2 and I am hopeful that after writing this essay and reading the feedback given to me, the next essay will be a lot easier.

Direct Feedback

“Good image analysis and very good essay structure. However, the quality of the discussions focusing on the chosen theme needs to be improved by drawing upon academic sources.”

In order to improve my essay it was suggested that I utilise my sources more. I listed books in my bibliography however I did not use them fully within my essay which will help to strengthen my discussions. Furthermore within my essay there were places where I included factual information but did not reference the sources.

General Feedback

After receiving our essays with personal directed feedback attached, we had a short lecture on general feedback and areas for improvement.

Improving on a grade B

  • Consistently introduce quotes and significant authors
  • Write an essay plan (think through your line of enquiry, how will you meet all of the brief criteria and the order of material)
  • Use images and your analysis of them to clearly support your line of enquiry
  • Make sure for every point or assertion you provide evidence in the form of a quote, reference or an image
  • Include summary sentences through out that link back to your line of enquiry / to the question you are answering (an introductory sentence and concluding sentence for each idea / paragraph)
  • Reflect upon the limitations and implications of the references and interpretations you are including (how the sources could be developed, include other sources to support your analysis)
  • Leave time to do a close read of your document to check for spelling errors, grammar and informal language
  • Caption your images to influence the readers interpretation in time with your argument

Improving on a grade A

Despite achieving a grade B I also noted down the points for improving on a grade A for future reference.

  • Be aware of your reader, make sure you are clearly communicating every point to your reader
  • Keep bringing your reader clearly back to your line of enquiry
  • Make sure you have a good bibliography, including a number of current references (the last year or two) and a range of sources
  • Clearly and consistently integrate images into your analysis to support your line of enquiry
  • Caption your images to influence the readers interpretations in line with your argument

Tumblr

Screenshot 1

Screenshot 2


As part of my new years resolution to create accounts on various websites to promote my artwork, I have created a tumblr. My tumblr can be found at http://ionegooding.tumblr.com/. On my tumblr I won’t be posting all of the work I create whilst at uni, nor in depth explanations of any of the work, simply strong selected pieces with brief descriptions. By posting some of my strongest pieces I believe my tumblr can help to positively promote my work online.

Semester 1 Assessments

Portfolio

In preparation for our semester 1 assessments we were given a list of work to present and how it should be presented. The work to be presented is as follows:

To present our work all of our layout pads should have cover sheets, held together with bulldog clips or another appropriate binding technique, and on each cover sheet should be a label. These labels should also be attached to any cover sheets for mounted outcomes, archive spines and on the reverse of final outcomes.

Finally to accompany our work we had to complete a self-evaluation sheet for the semester, write a cover letter explaining the work presented and any tutorial and critique note sheets.

For my semester 1 assessment portfolio I attached black cover sheets to all of my layout pads, which I held together with black bulldog clips, and to any work mounted on boards. By having all my cover sheets the same colour it allows my portfolio to easily be identifiable as a single body of work. Any final outcomes that weren’t mounted were printed onto good quality paper and had a label attached to the reverse. When collating all of my work at the end I realised that having my cover sheets as black was a very suitable choice as many of my final outcomes are black and white, therefore adding to the theme throughout my work.

The labels I created were based on the label I produced for my presentation board several months before, although it is not the most ground breaking design it does contain all of the appropriate information and is consistent throughout. Furthermore as I designed my labels several months in advance I did not want to redo the labelling on my work and risk damaging the prints or boards.

Semester 1 Reflection

I believe my work at the start of the academic year was not as strong as it could have been as I was settling into new ways of working and gaining new skills. Towards the end of the semester however my work developed hugely as I had a better idea of what was expected from me and could apply the skills I had been learning. Reflecting on past projects now I can now see how they need to be improved by applying the skills I have learned. Due to time, I cannot revisit and improve every project to the level I would like, therefore for my year 1 semester 1 assessments I improved those which needed it most. The new skills and knowledge I have gained through semester 1 however has put me in a strong position for the start of semester two.

Not only have I gained new skills and knowledge from semester 1 but I have begun to enjoy my work more and am eager to take on more personal projects. My goals for semester two are to create a series of online accounts on various websites to promote my work, to develop and explore my transmogrify project more, to explore experimental photography more which was inspired by let there be light, and to possibly develop my own font inspired by my handwriting. I would also be interested learning and experimenting with vector illustrations, an aspect of graphic design I have been eager to explore for a while but lacked the initial technical knowledge in Adobe Illustrator.

Vector Illustration

Vector illustration has been a topic I have wanted to learn for a very long time, and now with the skills I’ve learned through my visual communication projects and the software I have learned through my software inductions I feel confident to take on the task. Two inspirational vector artists, whose work I’ve followed for years, are James Gilleard and Mark Usimani. Both use vectors skillfully to create beautiful imagery however their styles are distinctly different.

The illustrator / animator James Gilleard is from London, England and is currently producing work. He has many distinct styles however his most popular are his very detailed vector illustrations. In Illustrator he will build up an image through the use of layered vector shapes, varying in colour and tone. He will also add textures to these images, removing the often ‘over polished’ look present in many vector artists work. From a distance you may not believe that these images were produced using vectors due to the detail and three dimensional form created through his style.

Japanese Food by James Gilleard, 2016

His also produces very abstract vector work. Since completing the spatial awareness project I can now see a clear link between the project and the work of James Gilleard. As well as using shapes, like I did for spatial awareness, he has taken it further by introducing colour and tone. I am eager to explore experimenting with more complex forms like those seen below as well as adding colour and tone and seeing what effect that has on the emotions and feelings conveyed through my work.

Abstract Things Series by James Gilleard, 2016

Abstract Things Series by James Gilleard, 2016

 

 

 

 

 

 

 

 

 

In contrast to his work is the highly polished vector work of freelance American designer / illustrator Mark Usmiani. His work compared to the work of James Gilleard is far more playful and child like. The content of his illustrations mainly focuses on fictional fantasy weapons and armour that he designs. This playfulness is also conveyed in his style, which consists of bright bold colours and highly polished bubbly vector shapes.

Loot Series by Mark Usmiani, 2016

Both artists use vector illustration effectively to convey different moods and feelings. When experimenting with vectors I feel it would be beneficial to experiment with both of their styles which would give me a broader understanding of the topic. I often feel mainly designers decide to use the more polished vector style, which personally I enjoy a lot, but being able to successfully create work in either style will grant me more flexibility if I choose to use vector illustrations in future university projects or industry briefs.

Transmogrify

29/11/2016 – 16/01/2017

Brief: To utilise the work produced from the spatial awareness project as a starting point and develop three dimensional / sculptural typography from it. This could be a single letterform, number or symbol, or a single word or short phrase / statement. The design should be three dimensionally rendered, and a two dimensional contact sheet of 10 photographs printed, with an A2 print of the most successful image.

I began my project with extensive research into a variety of fields that focus on three dimensional design, this included forms in contemporary sculpture, origami and forms in contemporary jewellery. From this I determined that in my work I would like explore origami and paper as my main form of communicating my design. This is due to the fact that paper is inexpensive, easy to work with and readily available therefore i had a lot of flexibility with the work I could produce.

Fibonacci Brooch by Will Evans

Flight by Thomas Joynes

South China Normal University by Yao Yuan

After conducting my secondary research I revisited my designs from spatial awareness that can be seen here. From my designs I began to make small paper models based on some of the forms and shapes present in my spatial awareness work but using the techniques observed in my secondary research. These techniques included curling paper, folding paper and folding paper into fans. A technique I think was particularly effective was folding the paper into fans, by using this technique the paper would maintain its shape due to the strong structure, it would also form crisp shapes due to the sharp folds, tone and depth due to the varying heights of the folds, and finally contrast of the straight folds with the curved shape of the fan allows for a lot of variation with form when designing. Briefly I explored using wire as well, however I found that it was hard to achieve a polished outcome due to the roughness of the wire joints so I decided to no longer explore wire within my work.

After exploring these models I began to drawn some designs for three dimensional typography. I began drawing designs for the letters ‘D’ and ‘B’ due to their mixture of linear and curved forms which I believed would lend itself to my folded fan technique that I previously experimented with and wanted to continue with through my work. I began drawing designs to give a direction to my work and I believed that generating ideas through creating small models would be time and resource intensive. However reflecting on my designs I realised that many would be impossible or extremely difficult to make within my time frame and with my available resources, therefore I decided to return to experimenting with paper which was successful earlier. My new approach was to experiment with folding paper into fans and assembling those fans using cutting, slotting and sticking to produce interesting forms. From these forms I would try and derive letterforms that formed organically instead of trying to design a letterform and then construct it, as this may result in my design being difficult to make as proven earlier.

Folded fans stuck together

Folded fans cut and slotted together

Folded fans stuck, cut and slotted together

The form created using stuck, cut and slotted fans I felt was successful and continued to further refine into a letter form. In this form I saw the possibility to develop it into the letter ‘K’ due to the vertical mass on the right and the angular forms on the left. To refine this form into a ‘K’ I started to trim and add fans.

Refined forms

In my design I felt it important to keep the fans and the layering of fans to create depth. Depth was an important factor in the design for ‘inquisitive’ for spatial awareness as I was layering circles of alternating colour to simulate depth. As well as layering three dimensional fans to replicate depth I also used the same colour scheme of alternating black and white colours used in ‘inquisitive’ for spatial awareness on my fans. On each segment of the fan I alternated between black and white, the black would accentuate the depth of the fans and the white segments would vary in tone due to the depth as lighting.

Whilst taking photographs of my three dimensional form I noticed that my series of 360 shots would make a good GIF illustrating what my design looks like from every angle. If you click the image below a new page will open displaying that GIF. Although clunky due to myself not having a tripod at the time, I still think the GIF achieves what it is intended to do. When I am in the still life studio I will taking a series of 360 shots like before however using their lighting, backdrops and tripod to create a more professional GIF. Although this is not a requirement of the brief I feel like these shots lend themselves to the GIF format and can easily be incorporated into my work as I will already be documenting the form through photography for my contact sheet.

Click to play GIF

To produce the photographs for my contact sheet I took my three dimensional model to the still life photography studio. I decided to use a white background instead of black, despite the model being black and white it stood out more on the white background due to it showing the shadows of the form. I then played with using the modelling lights as well as using the flash to photograph my model. Below is my final contact sheet which features a combination of these two approaches.

Contact Sheet

The images above have minimal editing, the only editing that has taken place is cropping into the images to select select dynamic and interesting forms. Furthermore brightness, contrast and colour balance have been altered to try and create consistency throughout the images, as some as taken using model lamps which need tungsten white balance and some are taken with the flash which need flash white balance.

A2 Print

The above image I have selected from my contact sheet to be enlarged to A2. I chose this image due to the mixture of straight and curved forms, and the creation if depth through the folds, colour scheme and the depth of field in the photograph.

As an additional piece of work I also produced another GIF however this time I used the photograph from my time in the still life studio. These photographs look more professional than the ones used in my earlier GIF, I also used a tripod so that the images were more consistent, altogether producing a more slick final product. You can view the GIF by clicking the image below.

Click to play GIF

Initially I struggled with this project as I found it hard to convey my ideas three dimensionally, I also felt limited by the materials and my own skills when it comes to three dimensionally creating a model. However once I began to more experimentally play with the materials my work picked up pace, the downfall of this project for me was not exploring enough in the early stages and developing tunnel vision, however I did notice this during the project and was able to correct it. I believe that my outcome was successful as not only does it contain interesting forms and archives its purpose if creating depth, but it is also proof of my three dimensional skills improving.

Feedback

The feedback I received was positive, my use of black and white was praised and I was encouraged to take my work further. To progress my photography the tutors suggests making the images black and white and then using levels to enhance the blacks and whites and therefore producing a more dramatic image. As well as possibly cropping further into one of the images presented on my contact, the image can be seen below.

Crop further into the forms

In order to take my work further they suggested possibilities such as photographing my object with 35mm black and white film and developing the images in the darkroom, allowing me to really explore black and white photography and get creative with the manual process. Another suggestion was to hang the form from the ceiling and film it from various angles, similar to the film work of Moholy Nagy, which can be seen below.

They also suggested possible formats that my typography could be taken into, like book jackets or a folding poster.

Personally I really enjoyed this project despite my initial struggle to connect with the brief. I would love to take my work further through the use of film, which I have not fully explored yet in my work, and through film photography, which I explored during foundation extensively and enjoyed. These options however would be too time consuming to explore before semester 1 assessments therefore I will personally continue them in my own time. Improvements that I will make before semester 1 assessments will be to make my images black and white and adjust the levels to create a dramatic set of images.

Post Critique Amendments

Below is my amended contact sheet, I converted all of my photographs to black and white, then altered the levels of the image to create dark blacks and bright whites for drama. Furthermore the image at the bottom right of the contact sheet has been cropped since my original contact sheet, this was to further focus on the smaller forms within the image.

Black and White Contact Sheet

After converting my images to black and white I decided to change the image that I printed to A2, this is because I thought the photograph below was far more effective than the photograph I had previously chosen due to the shadows which appeared once I began experimenting with levels.

A2 Print

Hierarchy

29/11/2016 – 9/01/2017

Brief: To use given content to produce a successful design solution for the KULI-KALA production. This design solution has to then also be formatted to four different specification sizes. The aim of this project is to improve my understanding of design hierarchies through the use of font size, weight and spatial arrangement. As well as to develop a sensitivity towards composition, balance and harmony, and finally to apply the knowledge I have gained through the production of my typographic archive.

I began by researching posters that display a confident understanding of hierarchy through the use of typography and limited graphic rules. Below are some examples that I found to be successful, especially due to their of rules and the alignment and spacing of the text fields, and all of which I have gone on to include within my typographic archive.

prelude-music-festival-poster-by-mercedes-bazan

Prelude Music Festival Poster by Mercedes Bazan

prelude-music-festival-poster-by-mercedes-bazan-2

Prelude Music Festival Poster by Mercedes Bazan

montreal-international-black-film-festival-by-sarah-dufour

Montreal International Black Film Festival by Sarah Dufour

japanase-architecture-a-history-by-sabrina-scott

Japanese Architecture A History by Sabrina Scott

After concluding my research I took the content that we were given to include in the design and split it into text fields, then I assigned these fields a hierarchy; primary, secondary or tertiary. These fields and hierarchies were not permanent but acted as a rough guide to follow when producing my hand drawn thumbnails of various design solutions. Once I had some ideas sketched out I digitally rendered four which I thought were the most successful in order to see how they worked within a digital space. I judged my most successful thumbnails on how well the use text size, weight, spatial arrangement.

untitled-1

Above I am using graphic rules to frame the text, however the brief states we may incorporate minimal use of graphic rules and my use in this image may be too decorative.

untitled-2

A reduction in the amount of graphic rules present and the introduction of inverted rules with type.

untitled-3

Experimenting wth the orientation of type and the use of dynamic rules. Although this is a technical project and not conceptual, the use of dynamic rules could be seen to represent swords or slashing, which relates to the samurai storyline of the production.

untitled-3-v2

A variation on the previous design however with the addition of another rule to represent clashing swords. The additional rule however creates an awkward interception with the inverted rule on the left, despite the reduced opacity of that rule.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

From the above images I decided to further develop the 2nd design. In comparison to the other designs it is less cluttered and there is a clearer hierarchy. Before going onto develop my design I did have to resolve an issue that I encountered once digitally rendering some of my designs. In the brief states it states that we are restricted to two typefaces, these are the serif font Garamond and the sans serif font Meta, both of which I did not have available on my device. I was able to find Garamond available online and install it onto my device, however I was unable to find Meta for free therefore I substituted it for the san serif font Arial which is readily available.

untitled-2-v2-kerned

Developed Design

In the above image I have gone on to develop my design by changing the tertiary text fields from Garamond to Arial. The serifs on Garamond reduces readability of the text when the text is set to a small font size, especially on screen, therefore a sans serif font would help to increase readability. Furthermore the use of a serif and sans serif font in one design creates a contrast between the two.

I have further developed the design by kerning the characters in the main heading. I reduced the space between the K and U in the first inverted rule, and the K, A and L in the second inverted rule. I did this to reduce the negative space between the letters cause by the diagonals present in the letter K and A.

Final 210 x 210mm Design

Above is my final design for the 210 x 210mm format. It has been developed from my initial design by making the tertiary text at the top of the image fit onto one line, this is because by having the text on two lines like it was before it created an unbalanced composition at the top of the image. Furthermore I’ve adjusted the length of the inverted rule for the date to be aligned on the left with the text and the inverted rules of the main headline. I also adjusted the length of the tertiary text below the inverted date rule to be shorter, this is so that the text frame height would matches the tertiary text on the right, and so that there is space between the left and right text fields. Finally a graphic rule was added above the text field in the bottom at 40% opacity in line with the bottom of the date inverted graphic rule. This was to fill in the negative space and balance the composition.

90 x 125mm

100 x 210mm

297 x 105mm

Above is my design transferred to the three other formats; 90 x 125mm, 100 x 210mm and 297 x 105mm. Throughout the various formats I have made sure to maintain the inverted rules and graphic rules, as well as making sure the layout remains consistent where possible. Furthermore I ensured that the elements in each image remained consistent in their ratios.

Digital Presentation Board

In InDesign I assembled created an A2 document and assembled all of my formats on that document to scale. This digital document acted as a mock up for my physical presentation board for my final outcome. It also allowed me to view all of my formats against one another to check to make sure all of my formats had a consistent design.

I believe that my final outcome was successful as they all contain a consistent design as can easily be recognised as being part of the same series. All of the same main elements of the design are present in each format, for example the inverted rules, graphic rules, layout etc. Similar layout and font sizes are also maintained where possible. As well as aiming to maintain consistency I also aimed for the designs to successfully work on their own, therefore each design has a clear hierarchy of primary, secondary and tertiary information, all the text is legible, and I have employed techniques such as scale to put emphasis on the important design elements. Initially I did struggle with this project as my existing knowledge of typography was limited, however as I developed my typographic archive and worked on my typographic emphasis exercise I furthered my knowledge of typography and was able to cement this knowledge by putting it into practice through this project.

Critique

During my critique I was informed of many areas I had to improve within my design. My design was praised as being super clear and easy to read, but it was too formal without enough drama and dynamism. To combat this I was advised to give it a stylistic twist. Other feedback specific to the elements of the design was that there was not enough empty space, the serif font is hard to read in inverted rules and a sans serif font would be more legible, and that the use of the large rule at the top was distracting.

Post Critique Amendments

To rework my design I went back to one of my earlier thumbnail sketches and began to digitally render some compositions based upon that, keeping in mind the feedback I received as well as the feedback given to others during the group critique. Below are some of the designs I produced and sought out additional feedback on.

Text fields in the bottom left abruptly disrupt the flow of the piece

Very flat, dynamism is lost without the cuts in the title

Text extending down disrupts the balance of the piece

Larger title helps to balance the composition more despite the text still extending downwards

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

My personal favourite design, and the design my tutor agreed upon as the best, was the design below. We agreed that it was more dynamic, however small adjustments could be made. The large black diagonals on on top left and bottom right corner could be removed from the design, the bottom left text field about the composer and writer / director could be wider or altered slightly to remove the thin section caused by the “action by” line, finally the alignment of the text fields in the top right should be more precise.

Initial design

Design after feedback

Below is my final reworked design applied to all of the formats. Overall I am very pleased with the final outcome. At the beginning of this project I researched many good examples of visual hierarchy with type in graphic design and began implementing those stylistic approaches within my thumbnails however during the designing process I believe I sacrificed too many of these features in favour of making an easy to read and understand design. Therefore for my final design I revisited some of my earlier thumbnails and brought some of those stylistic approaches back (e.g. dynamic cut through the lettering and stepped text fields), which ended up producing an easy to read and understand design that is also dynamic and visually appealing.

210 x 210mm

297 x 105mm

100 x 210mm

90 x 125mm