OUGD404 - Design Principles - Colour As studio brief 1 focused on the use of colour in graphic design, it was possible to gather information about the ways in which colour should be applied to a context. For studio brief 1, creating a booklet for the information on colour meant there would need to be certain aspects of the design which reflect the theories or ideas of the creatives that had been researched. Therefore, the layout of colour for the booklet would utilise the use of International Klein Blue, in response to the artist. For the exhibition poster, we were required to photograph the paper folding technique that would be used on the front cover on the poster. After looking at several existing poster designs by Tate Modern it was clear that the text would need to be either black or white. Therefore, by inverting the colour of the photographs for the background of the poster, it was possible to apply both black and white text to certain areas. This way the poster could show contrasts between the imagery and the text, similar to the patterns in Fahrelnissa Zeid’s artwork. As a result the colours would then become representative of the context in which they are placed.
original image
inverted image
final design
OUGD404 - Design Principles - Format In terms of format during studio brief 1 and 2, several considerations needed to be taken in order to choose the appropriate methods of production. For the colour theories booklet, choosing to use coloured card at A4 size proved unsuccessful during the development stages of the task. Therefore to improve on this, the idea for the outcome would be to print the booklet A5 and using either watercolour paper or semi gloss for the material. The use of watercolour paper would be in reference to Klein Blue as much of the work made by Yves Klein was using paint. For the exhibition poster, a matte paper at 130-170gsm would be appropriate. This would work well for the poster as the Tate Modern leaflet example that was studied during the research stage showed similarities to this.
examples of the Tate Modern handout, using 130170gsm matte paper.
Final booklet outcome
OUGD404 - Design Principles - Layout During the course of Design Principles, layout was a key element in the planning and production of design work. This included the application of certain layouts for certain contexts, including the Marber grid, modular grids and rule of thirds. By applying these layouts to certain styles, it is possible to structure the design in a way that suits the theme or style of the context which is being communicated. One example of this would be the use of the Marber grid during the book cover design stage. In order to create the Penguin style book covers, the Marber grid system was applied, which furthermore allowed the designs to replicate the process used by Penguin Books in their classics, such as Little Brother Fate. Another example of a layout being applied during design principles would be during the colour booklet stage and the exhibition poster stage. Both of these design pieces used the rule of thirds in order to layout the designs. This system was deemed appropriate for its uniformity and its ability to seperate or focus on certain aspects of the desgin. For example, the poster for the exhibition needed to focus on the image placed in the background. Therefore, the way to do this was to use the rule of thirds to focus the centre of the image in correlation with the text.
a Clockwork Orange by anthony burges
OUGD404 - Design Principles - Outcomes As a result of the design principles module, it was possible to create several outcomes that reflected the skills learnt during each studio brief. This included the use of layout, type and colour and ways that they can all be applied appropriately to a graphic design context. For the book cover designs, it was required that each book be researched so that the layout and design could correspond with the context. For exmaple, A Rage in Harlem shows a street sign similar to the ones found in Harlem, USA. The use of a fractured red background was symbolic of the conflict in the story, as well as a way to contrast the colours in the foreground. In terms of the visual elements of the task, other book covers also showed the relevance between the themes of the books and the design on the covers. For A Clockwork Orange, this meant showing illustrations of a clock and music notes. This would be in reference to the main character’s dark passion for classical music. By making a minimalistic design for this cover, it would be possible to recreate a version of the classic book in a way that would look nostalgic to the reader. For the book cover of A Christmas Carol, a minimalistic approach was also taken. By doing so, it would be possible to create a simple illustration, which works in reference to the time period in which the book was written. For the design of an exhibition poster, the Tate modern seemed to be the most appropriate to use. The folded paper technique that had been used for the cover of the poster, was in relation to the type of exhibition that would be displayed in the Tate Modern. This was Fahrelnissa Zeid, which consisted of several abstract patterned paintings, being displayed between 13th June and 8th October 2017. This meant that the imagery in the backdrop of the poster would then show relevance to the shapes found in the exhibition. For studio brief 1, a booklet was produced in response to the study and application of colour in a graphic design practice. The booklet itself reflected on several creatives and their theories in the use of colour. In terms of the colour used for the final outcome of the booklet, International Klein Blue seemed most appropriate in relation to the context, as it has been covered in the booklet. This also helped the booklet to display uniformity throughout, while dividing each page into segments based on the rule of thirds. This layout worked well in correlation with the white backdrop and text that had been applied over it, creating a consistent flow from one page to another.
Penguin Classics
PENGUIN CLASSICS
A Christmas Carol
A CLOCKWORK ORANGE BY ANTHONY BURGESS
Romek Marber -Born Poland, 1925 -Marber is deported to Bochnia Ghetto, 1939 -Marber was then saved from being transported to the Belzec death camp by the commander of the forced labour workshop in the town, 1942 -Marber arrived in the UK and was reunited with his father and his brother, 1946 -Marber attends St Martins, early 1950s -Attends the Royal College of Art, 1953 - During his time at Royal College of Art he was joined by a range of talented designers, including David Gentleman, John Sewell, Dennis Bailey and Ramond Hawkey. -During the mid 50s he started work on a number of design projects including cover art for The Economist. -Germano Facetti commissions Marber to design covers for ‘Our Language’ and ‘Language in the Modern World’ by Simeon Potter, 1961. -Following on from this project, Facetti then asks Marber for a proposal of a new cover approach for the Penguin Crime Series, 1961. -This arrangement for the Penguin series is retained throughout the 60s and 70s. -Marber creates his final crime novel cover for The Scarlett Letters by Ellery Queen, 1965. -His last commission for Angus Wilson’s novels were spoiled by insensitive lines of type applied by the publisher, 1968/1969.
by Charles Dickens
Penguin Classics
A RAGE IN HARLEM BY CHESTER HIMES LENOX AVE. ST
WEST 125
WEST HARLEM
Romek Marber -Born Poland, 1925 -Marber is deported to Bochnia Ghetto, 1939 -Marber was then saved from being transported to the Belzec death camp by the commander of the forced labour workshop in the town, 1942 -Marber arrived in the UK and was reunited with his father and his brother, 1946 -Marber attends St Martins, early 1950s -Attends the Royal College of Art, 1953 - During his time at Royal College of Art he was joined by a range of talented designers, including David Gentleman, John Sewell, Dennis Bailey and Ramond Hawkey. -During the mid 50s he started work on a number of design projects including cover art for The Economist. -Germano Facetti commissions Marber to design covers for ‘Our Language’ and ‘Language in the Modern World’ by Simeon Potter, 1961. -Following on from this project, Facetti then asks Marber for a proposal of a new cover approach for the Penguin Crime Series, 1961. -This arrangement for the Penguin series is retained throughout the 60s and 70s. -Marber creates his final crime novel cover for The Scarlett Letters by Ellery Queen, 1965. -His last commission for Angus Wilson’s novels were spoiled by insensitive lines of type applied by the publisher, 1968/1969.
OUGD404 - Design Principles Type Through the use of several choices of typeface, it was possible to communicate design principles in the work for studio brief 1 and 2. After learning about the interpretations and uses of type during module 3, it was possible to transfer these skills to the projects involving book cover designs and exhibition posters. At several stages during studio brief 2 in particular, the fonts for the book covers were re-evaluated and changed where necessary.
Studio Brief 1
Helvetica Studio Brief 2
GARAMOND