Page 1


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Index Prologue

6

Brief Intro

7

Group Research

8, 9

Circus in Popular Culture

10-14

Sound Recordings

15-21

Emma King

22, 23

Experimentation

24- 29

Raw Data Final Outcome

18 21

Logo/ Branding Logo Experimentation

25,26 24-29

Design Proposal/ Strategy Phase 1 Poster Prototype

30

31,32

The Sensational Circus Spectacular by Nathan Godding

33- 40

Cut & Scan

39- 41

Knoll International

42- 43

Logo Development

45- 49

Spinning @ The Rag Factory

50- 33

Hattenschweiller CMYK London Fire Spinners

46- 47 48 49

Design Proposal/ Strategy Phase 2

3

54


Monkeying Around

57- 58

Social Media

as a tool for Data Gathering

59- 60

Photo Manipulation/ Photomontage

63- 64

LED Trails

65- 68

Logo Development/ Final Stages

69- 75

Colour Schemes Choosing Font Final Logo

70 73, 74 75

Final Design Proposal

76

Final Colour Sceme

77

Type Specification

78 79, 80

Layout Specification

81

Bibliography

4


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Prologue. This document is a form of documentation of my journey through my live projects module. As part of this module, we were asked to chose from three briefs provided by the International Society of Typographic Designers (ISTD). After careful consideration, I decided to work on the Visual Identity brief. And by ‘after careful consideration’, I mean to say that I had pretty much closed my mind to the other briefs the first time I read throught the Identity brief for a museum based on the circus. I could immediately picture myself engaging in boundless methods of exploration with this brief, which is what I aim to present in this particular document. It is not simply a log of my work, but also defines the elements that have driven the concept and design development.

6


Brief Intro • Branding and publicity for a museum based around the circus. • Logo and identity applied to all aspects of the museum. • Selecting a target audience and developing a strategy to approach it. • Detail study into most known circuses such as P.T. Barnum, Billy Smart’s, Chipperfield’s, Cirque du Soleil, The Moscow State Circus, The Jim Rose Circus Sideshow, The Circus of Dr. Lao, Freaks, Archaos, Carnivale etc. • Expressing design and typographic skills.

7


Group Research •

While compiling Group Research, I experimented with photomontage by combining handwritten text with image. • This helped to draft ideas for posters and flyers announcing the launch of the museum. • It also brought me closer to an understanding of how text and image could be combined effectively.

8


9


Circus in Popular Culture

Fear And Loathing in Las Vegas- Hollywood (1998)

Strange Days Cover by The Doors (1967)

10


Mera Naam Joker- Bollywood (1972)

I explored various movies and music depicting circus scenes from which I derived inspiration and understanding for developing my ideas. These were also heavy influences in my life. If I look far back and try to recollect, I can only remember going to circus maybe once in my life. But, movies such as Mera Naam Joker, or Fear and Loathing in Las Vegas serve as alternate memories of circus culture.

11


Fear and Loathing in Las Vegas (1998) www.imdb.com The big screen version of Hunter. S. Thomson’s seminal psychedelic classic about his road trip across Western America as he and his large Samoan lawyer searched desperately for the ‘American Dream’ .... they were helped in large part by the huge amount of drugs and alcohol kept in their convertible, The Red Shark. (Written by Laurence Mixson) In the circus scene, Duke and his estranged lawyer go on another one of their drug binges in search of the ‘American Dream.’ The scene shows the wackier side of the circus. It almost depicts both the visitors as well as the performers to be pathologically insane. (Self Annotation) 12


Strange Days Cover by The Doors (1967)

Since Jim Morrison refused to appear on the cover of the album, Brodsky drew inspiration from Federico Fellini’s 1954 circus film, La Strada, and photographed a group of acrobats and jugglers on the streets. Apparently they had trouble finding models, since most circuses were out on summer tours. The trumpet player is actually a cabbie that the art director grabbed from a passing cab. He offered him $5 to appear in the shot, and the driver apparently called him later and asked where he could further his modeling career. The muscleman was the doorman at The Friars Club.

Since Jim Morrison refused to appear on the cover of the album, Brodsky drew inspiration from Federico Fellini’s 1954 circus film, La Strada, and photographed a group of acrobats and jugglers on the streets. Apparently they had trouble finding models, since most circuses were out on summer tours. The trumpet player is actually a cabbie that the art director grabbed from a passing cab. He offered him $5 to appear in the shot, and the driver apparently called him later and asked where he could further his modeling career. The muscleman was the doorman at The Friars Club.

13


Mera Naam JokerBollywood (1972) www.imdb.com Raju is a joker, a clown. It is what he is and what he shall always be. As his life story unfolds in three chapters, from school days to the circus to the streets, he must always make people laugh and be happy, no matter how unhappy he is within. Along the way, Raju loves and loses, but must always keep a smile on his face because in the words of his circus manager, “The show must go on.” Over six years in the making, “Mera Naam Joker” is Raj Kaapoor’s semi autobiographical story of the life, love and philosophy of an entertainer. Written by HN Sampat. 14


Sound Recordings

Just cause you got the monkey off your back, doesn’t mean the circus has left town. As a group attempting this circus identity brief, we asked a range of people from different cultural and ethnic backgrounds to repeat a quote by the famous American standup comedian, George Carlin. Even though the quote only included a ‘metaphorical circus’ I collected a lot of raw data to base my ideas around and to experiment. This was a very useful exercise in understanding the concept of data gathering and how that data could be applied to my various design processes.

15


By looking at minute details of the collected data, I was able to formulate a chart depicting the words repeated by subjects. Since the data was audio samples, I studied waveforms, played back several times in order to arrive at a certain visual solution.

16


I used colour coding with Fill colour of the squares to record the different words, Outline of the squares to record who said those words, The vertical squares to record emphasis on each word on a scale of 1 to 10 and, The horizontal squares to record the length of time spent to say each word on a scale of 1 to 10.

1

Recorded Phrase

2

Name of the person who was recorded.

just cause you got the monkey off 1 your back, doesn’t mean the circus has left town!

Adnan1 Adnan2 Alex Eric 2 Fio Florida Gulcin Iwona Jonas Kandace Linda

17


Raw Data In order to arrive at the final visual representations, I played back the collected data several times and gave scores to each word said by each subject based on the time and emphasis spent on them. Below is a scan of my notebook where I recorded this score for later use.

18


11

22

Emphasis Time 33

Gulcin

just cause you got the monkey off your back, doesn’t mean the circus has left town! 44

1. The outline colour denotes the person who has said that particular word. In this case, since all the data has the same outline colour, a very dark shade of blue, one can understand that it is the phrase read by Gulcin. 2. The fill colour denotes the word in question. These bars are a pale shade of orange relating to the word ‘your.’ 3. The horizontal and vertical bars represent the emphasis and time, respectively, spent on each word. The number of bars are a measure of either of the values. For instance, the word ‘just’ has an emphasis rating of 4 and a time rating of 2. 4. The colour of either of the words co-relates to the fill colour of either of the bars. 19


11

22

Emphasis Time 33

Gulcin

just cause you got the monkey off your back, doesn’t mean the circus has left town! 44

1. The outline colour denotes the person who has said that particular word. In this case, since all the data has the same outline colour, a very dark shade of blue, one can understand that it is the phrase read by Gulcin. 2. The fill colour denotes the word in question. These bars are a pale shade of orange relating to the word ‘your.’ 3. The horizontal and vertical bars represent the emphasis and time, respectively, spent on each word. The number of bars are a measure of either of the values. For instance, the word ‘just’ has an emphasis rating of 4 and a time rating of 2. 4. The colour of either of the words co-relates to the fill colour of either of the bars. 20


Final Outcome just cause you got the monkey off your back, doesn’t mean the circus has left town!

Time

Emphasis

Adnan1 Adnan2 Alex Eric Fio Florida Gulcin Iwona Jonas Kandace Linda

21


Emma King Typographic Patternshttp://emmaking.net/index.php?/typographic-patterns

Emma King created series of typographic patterns using various known typefaces. The ones above were done using the uppercase letters from A to F from the Beton Light typeface. 22


These patterns further influenced the course of my design development and exploration.

23


Experimentations I continued experimenting by using the sound recordings to generate various patterns. These patterns were heavily influenced by Emma King’s typographic patterns.

24


Logo/ Branding 1

2

3 4

5

6

7

Annotations are on the following page.

25

8


1. Designer: Olivier Courbet; Award winning logo, 2009: Circus of Magazines is an online marketplace for magazines, a place where magazine lovers gather to buy, sell and exchange magazines. Source; http://www.wolda.org/ 2. Designer: Vanig Kodjian Contributor: Paragon Marketing Communications Circus Maximos is a Quwait based clothing brand. 3. Website: www.cirquefantastic. com Designer: unkown Contributor: Kalen2k A canadian entertainment company specializing in the arts of the circus. 4. Website: http://www.circuscircus.com Designer: Circus Circus Las Vegas Circus Circus Las Vegas is a circus-themed hotel and casino located on the famed Las Vegas Strip in Winchester, Nevada that is owned and operated by MGM Mirage. 5. Designer: Josée Bélanger (1984) based on a tarot card representing the sun, because it embodies youth, energy and dynamism. 6. Website: http://www.circulglobus.ro Designer: Francisc Zinz 7. Website: http://circuslanhouse.com Designer: williamtak@hotmail. com Contributor: Emerson Takamori 8. Website: http://www. circoroyal.com Designer: Adrián Fonseca 26

“I searched for random logotypes based around the circus theme and studied how they were appropriate, conventional or tangible. I was especially inspired by the ‘circus of magazines logo.’ Although this is not a logo for a circus, designer Olivier Courbet, employs the use of a circus canopy graphic which simultaeneously suggests the for of an open magazine/ book. Hence, the concept of a “Circus of Magazines” was very cleverly manufactured.”


Logo Experimentation

My proposal for Logo, began with this sketch which was born from experimenting with colour coding exercise as described in previous slides. Elements that I wished to work with included: • A grid like pattern. • Squares with fill and outline. • Sans Serif Typefaces such as Futura or Trebuchet. • Page Curls. • Three Colours 27


I began to create vector art of my idea. The idea was to employ the use of coloured grids and page curls to create a confettied celeberatory image of the circus and all the thrills and frills. I started with this particular logo skeleton which I later coloured to make it appear more dynamic and vibrant.

without horizontal lines

without page curls

28


Coming closer to logo finalization, I decided to rid my design of the page curls as they seemed to get in the way of the message. I still stuck with the idea of partly cutting the squares where the page curls as it breaks the uniformity of the design.

29


Design Proposal/ Strategy The following is a proposal that I presented to my tutors for the ISTD brief. It was my initial plan of my ideas for this circus museum identity brief. Unfortunately I failed to impress upon my tutors with this proposal and I was not picked for entering the competition. •

I would like to channel my final project towards a worldwide perspective of circus.

Apart form creating posters for the launch of this one of a kind archive, I would like to also create kinetic typography introducing the various attractions at this museum.

To approach the worldwide perspective, I would like to employ the use of fewer colours.

I still aim to attempt more experiments and approach the brief from various different styles and angles.

Although my final design idea was vastly different to the concept in the previous pages, the strategy remained almost entirely the same.

30


Poster Prototype I attempted a slightly different version of the logo for my first poster prototype. I changed the colors of the lines and got rid of fill colours, page curls and vertical lines. After looking at certain museum logos such as V&A and The British Museum, I came to the conclusion that if the basic logotype is standardized, slight colour alterations may be made to make it sit with the background.

31


32


I took inspiration from Nathan Godding’s work, a graphic design student at Academy of Art University in San Francisco, who’s come up with an excellent graphic scheme for The Sensational Circus Spectacular.

Images courtesy of Nathan Godding http://www.fastcodesign.com/1663057/a-rebranding-that-updates-the-circus-for-the21st-century http://www.nathangodding.com/ 33


(The Sensational Circus Spectacular is a fake big top Godding dreamed up for an assignment on branding an event. He envisioned a marriage between Barnum & Bailey and Cirque Du Soleil, between the 19th century and the 21st -- “a circus that is true to its roots yet targeted at a contemporary audience,” he tells us --- then built a visual identity around it.) From Suzanne Labarre’s article in www.fastcodesign.com From this point onwards, it becomes quite evident where I drew most amount of inspiration for the final design- colour scheme and design elements.

Images courtesy of Nathan Godding http://www.fastcodesign.com/1663057/a-rebranding-that-updates-the-circus-for-the21st-century http://www.nathangodding.com/ 34


Images courtesy of Nathan Godding http://www.fastcodesign. com/1663057/a-rebrandingthat-updates-the-circus-forthe-21st-century http://www.nathangodding. com/ 35


“The result is a mix of antiquated type crossed with bold strips of technicolor -- what you might’ve gotten had P. T. Barnum been something of an acid freak. It’s electric. Everything, from the tickets and the popcorn buckets to the outdoor ads and the website, manages to look both fresh and old-timey, which is exactly what you want for a modern-day circus. Think: If the visual identity were too off-beat and “contemporary,” you’d lose the whole context of a circus. If it were too nostalgic, it’d just convey the message that there’s nothing new to see here. Godding’s scheme is a deft bargaining of the past with the present.” From Suzanne Labarre’s article in www.fastcodesign.com 36


“A flexible system incorporating playful typography and bold colors brings the identity to life.�

Nathan Godding

37


Images courtesy of Nathan Godding http://www.fastcodesign.com/1663057/a-rebranding-that-updates-thecircus-for-the-21st-century http://www.nathangodding.com/


Cut & Scan I experimented with type manipulation by printing out type, cutting it and then rearranging.

font used- Haettenschweiler

font used- Futura

I used this technique to look for moments where the type intersected and started looking more like the form of a circus canopy- the big top.

39


Next, I experimented with the scans by laying it over the digital type.

40


I was looking for moments of intersecting type which made sense to me.

41


Knoll International I found the poster for Knoll International designed by Massimo Vignelli, 1966, to be really interesting. 1- The slanting type and 2- overlapping shapes in the typography are iconic.

1

2 42


The Knoll International Poster has also been featured as the cover of Eye Magazine issue 2012

43


44


45


Haettenschweiler I chose to make Haettenschweiler Regular to base my experiments on because it is a bold typeface with thick stems and enough space for typographic moments to occur. My inital experiments gave me the impression that this font would make a lot of sense with a circus theme.

46


Initially my experiments were either in grayscale or duotone because I was concentrating on the form rather than the colour scheme. I was attempting to suggest the circus big top, through the form of the type.

47


CMYK Next, I empolyed the use of CMYK colour scheme. This helped me to experiment with all other sorts of colours, to see how they worked with each other.

48


I also experimented with other typefaces. At this point of the module, I had started getting in touch with various circus collectives in London to gain inspiration for my project.

49


Spinning @ The Rag Factory* Spinning@ is a group of jugglers, spinners and object manipulators that have been meeting weekly for the past 10 years. We started meeting at Spitalfields market in London and we moved to The Rag Factory in Brick Lane a few years ago. We share our tricks freely and we often have workshops run by various performers and hobbyists. There is a strong social aspect and a lovely community feel. Please come along if you’re in London and you can find out more on our facebook page search for “spinning @”. The Spinning@ chill out space/bar has been growing over the past few years and has matured into comfy, LED twinkle haven where

we have relaxing music, juggling, board games and lots of silliness to offer. We have D.J’s to play in the evenings and we aim to be open 24 hours a day. We have been to Southern Lights, Play, Buck and Bristol Circus festivals and we would love to go to more in the next few years. We are always growing and changing but the theme of being chilled, never changes. We would like you to really enjoy your selves here, please help to keep this space tidy for others by cleaning away any rubbish and putting games into their boxes, be yourselves and most importantly … HAVE FUN :)

*Text recieved from Kevin who runs a circus spinning group called Spinning @ The Rag Factory. On inquiring about the logo, he said, “The logo is a pair of poi spinning arround the @ symbol. I came up with the simple idea when we needed to find a new spinning venue. It very quickly became clear that it was very transferable.. E.g spinning@ play, spinning@ sl, spinning@ party etc.. I was shocked at the simplicity of it!” 50


“My name is Kevin. I have been playing with circus props for 24 years. It started one afternoon, when a friend had a devilstick and I had a play. I found that I understood it and after years of struggling with Dyslexia, I could finally do something really well. I did not understand then that I had found something that would cement my love for the juggling world. After a few months of travelling and juggling, I discovered Spitz run by Ewan. After a couple of years attending, the oppurtunity of taking over came up. A couple of years into running Spitz, due to refurbishment,*

* Text continues on next page.

51


... we became homeless.We nearly lost hope until Chris came back from travelling and found The Rag Factory.The name spinning@ was created to allow us to relocate while retaining our identity. Over the years I have met people, found friends, love, overcome fears, grow and feel a sense of belonging. This applies to me as well as many others. I also find that juggling shows you that anything is possible. It just involves time and practice. I want this group to continue and I want it to grow, it is always changing and like London most people move on eventually which is the hardest part for me.�


This image was photographed at one of the fire spinning nights at Dirty Beach, London. It was really inspiring to see these performers attemting to create type signifying their once-in-a month collective event.

I was introduced to the Spinning @ group for the first time in 2011, by my friend Dyi, who is a staff and poi spinner, contact juggler and also trains in Capoeira among other skills. I was also inntroduced to another community for performers called London Fire Spinners. Spinning @ is a circus community meant for skill sharing which meets one a week in Brick Lane on Tuesdays. London Fire Spinnersis a once a month skills display, usually with props and lots of paraffin, at Dirty Beach, London.

53


Design Proposal/ Strategy 2 The following is the second proposal that I presented to my tutors for the ISTD brief. Since the brief did not specify the meaning of the word ‘museum’ I tried to argue with them, the dictionary definition of museum, in an attempt to base my project around the performers I had met at Spinning @ and the London Fire Spinners. •

Concept- The London Circus Sensational presents Spinning @ The British Museum.

World English Dictionary- mu·se·um [myoozee-uhm] noun a place or building where objects of historical, artistic, or scientific interest are exhibited, preserved, or studied [C17: via Latin from Greek Mouseion home of the Muses, from Mousa Muse ] Origin: 1605–15; < Latin mūsēum place sacred to the Muses, building devoted to learning or the arts (referring especially to the scholarly institute founded in Alexandria about 280 b.c.) < Greek Mouseîon, equivalent to Moûs ( a ) Muse + -eion suffix of place. 54


“My name is Siwar, i’m a French- Tunisian spinner and I live in London. I first fell in love with circus arts about 10 years ago when I saw for the first time in my life a fire spinner performing. I managed to save money, bought my first fire toys and started training for fun in France. A passion emerged in my life and I started to meet beautiful spirited young people sharing the same interests as me.Then, I moved to UK where I decided to become a circus performer, able to spin with different toys, either glowing, lighted with fire or not. I’m also able to use a hoola hoop and dance. Since, I think that circus activities help people in one hand to express themselves, socialize, focus on a creative activity, and in the other hand to break barriers to loneliness, happiness and shyness. I also enjoy friendly juggling Friday nights out.With circus acitivities, life become easier and more enjoyable, especially if you can’t afford to pay to be entertained... At least, you can have fun just by gathering a couple of friends and play in a public space.”


Image Courtesy of Skins Elliot Photography. 56


Monkeying Around.. Could the two clowns on platform 3 stop monkeying around? Youâ&#x20AC;&#x2122;re putting yourselves as well as others at serious risk of injury! In order to engage with my circus friends in a fun and playful manner, I did a quick and impromtu photoshoot with Oscar and Deejay. On closer inspection and on suggestion from a mutual friend, I decided to place them on the classic video game platform for Mortal Kombat and we had quite a laugh while doing this. I also promised to feature some of my friends in this book as they had largely influenced my design strategies, development and research. 57


58


Social Media as a tool for Data Gathering

59


As is the case with most forms of communication in these times, Facebook turned out to be a relaible tool for me to keep track of circus peeps and to pester them to help me out with my project. 60


â&#x20AC;&#x153;I fell into the circus movement as a lost and lonely person. I had been exposed to poi and contact juggling several years before I wandered into Oddballs one rainy afternoon where I was sold a contact juggling ball and sent to Spinning@. I met people there for the second time in my life where I felt included and safe. I was taught and allowed to learn safely and constructively, nurtured and included. I have made firm healthy friendships there and as a result of the associated conventions, I met my life partner. Spinning@ saved my life and changed it for the better. Circus skills are one thing, but I was lucky and learnt life skills there too.â&#x20AC;? 61


62


PhotoManipulation/ Photomontage With having a body of data collected, I started to experiment with image manipulation. I aimed to use these images in various methods. Although the brief is mainly typographic, I decided to experiment in this way in order to gain further understanding of how text layouts work with images. I was also aiming to feature some of my friends who took a lot of their precious time to help me out with my Project.

63


LED Trails When I was at Dirty Beach near Southwark station for London Fire Spinners night, I photographed a few performers at a low shutter speed to catch the trails made by their LED props. I later attempted to symbolise these trails in vector format. With this exercise, I was looking for the forms of various letters, especially the @ symbol. The Spinning @ group already had a strong concept behind using it, which was to be able to relocate and still be able to inform everyone about their location. I was still attempting to create an identity for them at this stage, for the same reason, I was focusing on understaing the forms of these trails. 65


Poi performance by Zuska Drobna

66


Poi performed by Chaka September 67


Poi performance by Zuska Drobna

68


Final Stages


Colour Schemes Although I was still apprehensive of the form of my type design, I began experimenting with various colour schemes which later helped me to identify the weak points of my design so that I could improve it further.

70


At this stage, my design finally started taking shape. I attempted to lock on this particular design and went on to experiment further with colour schemes and how I could create ,moving image to introduce this new identity by creating a test movie. 71


72


Choosing Font I experimented with more fonts. Although I had pretty much decided on using the Haettenschweiler font for my main typeface, I arrived at the decision that the circus font for the tagline was appearing to be too clichĂŠ.

1.

2.

3.

4.

5.

6.

7.

73


1.

LONDON CIRCUS

4.

Museum

Museum 2.

LONDON CIRCUS

5.

LONDON CIRCUS

6.

LONDON CIRCUS Museum

Museum

3.

LONDON CIRCUS

LONDON CIRCUS Museum

Museum 7.

LONDON CIRCUS Museum

It also helped to establish which font works well with my main logo typeface

74


Final Logo

75


Final Design Proposal/ Strategy The following is my final proposal that I presented to my tutors for the ISTD brief. •

Concept- The London Circus Museum.

I aimed to created an identity for a circus museum based in the city of London.

The identity would include posters and a short movie announcing the launch.

The main idea was for colourful graphics that would suggest the circus canopyBig Top.

76


Final Colour Scheme I searched for images of circus big tops on google images in order to come up with a dominant colour sceme to be used later for my logo design R- 255, G- 224, B- 19

R- 227, G- 17, B- 2

R- 64, G- 44, B- 103

77


Type Specification Heading- Caslon Pro Body Text- Myriad Pro Quotes- Gills Sans Experimentation- Helvetica Neue, Haettenschweiller, Futura, Circus Font, Brush Script, Optimus Princeps, Trajan Pro, Romance Fatal Serif, Monotype Cursiva, Garamond, Hoefler Text and Times. Apart from a few fonts downloaded from www.dafont.com, under creative commons lincense, all fonts were available on university database.

78


Layout Specification 1

2

3 4

5

6

7 8

79


1. Outside Margin- 20mm

2. Columns- 10

3. Gutter- 4.233mm

4. Inside Margin- 15mm

5. Bleed Line- 5mm from

6. Trim Line/ Page Edge

7. Height- 210mm

8. Width- 148mm

80


Bibliography Armstrong, Helen; (2009) Graphic Design Theory: Readings from the Field, Princeton Architectural Press Frutiger, Adrian (1998) Signs and Symbols: Their Design and Meaning, Ebury Press Klein, Naomi (2000) No Logo, Flamingo van der Velden, Daniel; Kruk, Vinca (2009) Uncorporate Identity, Lars Muller Publishers www.colourschemedesigner.com www.brandsoftheworld.com www.dafont.com www.eyemagazine.com www.fastcodesign.com www.nathangodding.com www.emmaking.net www.imdb.com www.istd.org.uk

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museum

...

02.04.13

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113- 114, Cosby Road Covent Garden- CG13DT

The Circus museum  

My journey through the Live Projects Module, design process and development for a brief provided by the International Society for Typographi...

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