Explain

06/01/2017 – 06/02/2017

Brief: To visually explain a concept through a series of sequential imagery. This concept should be chosen from a list of provided ideas and the final outcome should be in a format appropriate to the subject matter, experimentations /explorations and to my ideas and investigations. Through this project an awareness of content and aesthetic hierarchies should be developed, along with research and self-evaluation skills.

From the list of concepts, theories, processes, etc. provided I chose to explain why we dream. I wanted to chose something that wasn’t just fact but left room for creative interpretation. Dreaming has different interpretations across different cultures and throughout history, it also has scientific explanations. Furthermore the concept allows for a lot of visual play due to its imaginative nature.

I initially began my investigation by researching infographics; how they are designed and what formats they can be applied to. For my final outcome I did not simply want to produce a poster for both of the two infographic briefs therefore I focused my research on unique ways of displaying infographics. A piece I found particularly interesting and relevant to my work was 44 Days of Sleep by Ra Bear / Adam Griffiths. Instead of creating a poster he printed his poster design, which focused on his sleep schedule, onto a duvet cover. After some brief research I discovered that printing onto a duvet cover would be quite expensive. A blanket or series of pillows would still hold the connotations linking to sleep, how they also would be quite expensive and the clarity of text may be lost on a small scale and with a textured fabric surface.

44 Days of Sleep by Ra Bear / Adam Griffiths

Infographics XXXXL by Coming Soon, 2013 – Research into creating three dimensional infographics

Interest Number 4 by Peter Ørntoft – Research into combining photography and digital graphics

The format that I finally decided upon was a mobile, such as mobile that would hang over a young child’s crib. Not only does this connotate to sleeping and dreaming but it would allow me to create clear graphical information and display it in a creative and three dimensional setting without fear of cost or not communicating well. This was inspired after seeing a tutorial on making your own mobiles on Pinterest for young children. To construct my mobile I used the same materials suggested in the tutorial, which was the inside of an embroidery hoop with my infographic elements being attached to it with colourful thread.

DIY Embroidery Hoop Mobile

Mobile with Paper Elements

To design my elements I first generated a colour palette using Adobe Kuler. When researching why we dream I discovered that the most popular colour palette people dream in is pastel, so I wanted to create a pastel colour palette that also had a variety of colours to fit in with the playful nature of dreams and a mobile which is usually aimed at children.  Below is my chosen colour palette, I did not want to make the colours overly pastel as it would make the final product not stand out and hard to understand so I chose slightly pastel but bright vibrant colours.

Adobe Kuler Colour Palette

Once I had selected my colour palette I sketched out the design for my mobile. When researching the DIY mobiles many compromised of 4 strands hanging from the hoop with a central stand hanging from the knot tied at the top. Using this design I sketched out how the information I collected from my research could be applied. I chose to break the information into 4 categories (1 category per strand) and then a small introduction which would go on the central strand. The 4 categories were the stages of sleep, the benefits of dreaming, dream recall and REM movements. For each strand I broke the information down further into 4 subcategories, each subcategory would have its own disc and on each disc one side would contain the information and the other side would have an illustrated image for the information. To attach the information to the mobile I took the information and accompanying graphic on separate discs and stuck them together on either side of the string, this was to hide the string in the middle so it did not interfere with the text or graphics.

Graphic Discs

Text Discs

During the group crit however it was suggested that I develop the idea of a mobile further. It was suggested that the mobile needs to be more sculptural and optically convey the elements that it informing, for example rapid eye movement. The visual language needs to be more radical which could be achieved by using projection, glow in the dark stars or a moving image piece. From the ideas suggested I was eager to try creating a moving image piece based on my mobile. The advice given for creating a moving image piece was to add a soundscape to the video, also to make sure that the video is very short so that it is manageable.

 

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