Comm Design III (2011)

Introduces narrative sequence through temporal or spatial means.

Messaging in 3 moves or more (images, screens, pages, sentences) or in 3 dimensions.

Media agnostic (students may choose an appropriate medium/method).

Builds on CD1+2 but adds serial/multiple communication. Deals with series/stories/sequences/ choices/transitions.

Project types: Messaging in sequence. Multiple pages or screens. Image or language sequences.

Storyboards. Interaction or navigation choices.

More complex grids.

Multi-page documents.

Motion.

This book showcases the poster assignments that were completed in Leonard Konopelski’s Comm III class.

The class consisted of 3 poster projects: the self-evaluation poster, the product evolution poster, and the jazz festival poster.

PROJECTone self-evaluation

Assignment: My weakest point and my strongest point: develop image which will communicate with your statement.

Create storyboard for low tech film, where there is conflict between weakest and strongest points

chat transcript 9.19.2011

Brian Xiao: just tell me what you think are my strong points and weak points Evan Williams: okay so, strong points: musically gifted creative witty, funny, vulgur sense of humor very good at reading and understanding people work horse determined very knowledgeable good at picking up at things

quickly time efficient Brian Xiao: what about the weak?

Evan Williams: energetic (good point) okay, weak points: cynical (sometimes) stubborn in the way you do things oh amazing memory (positive) over analytical lonely/negative perspective (at times) sorry, i hope i am not upseting you Brian Xiao no. in fact, the opposite. go on.

Evan Williams okay :0 uhhh...hmmmmm oh generous (+) helpful (+) very detailed (+)

WHO AM I? Interview with an old friend

tendency to be irritated, dark easily provoked angry ^sometimes ..... hmmmm, ill keep thinkinh Evan Williams you can get a lot done in a short period of time haha no worries buddy that was a positive one btw lol oh! hasty sometimes anti social, but also solitary (+) like a little bit of socializing goes a long ways for you, which is not really a bad thing at all Brian Xiao one thing i can never figure out, is whether i’m social or anti-social i mean, you knew me all my life..but... to school people, if you told them i was anti-social...they’ll probably laugh...

Evan Williams haha, ive never seen you as being anti social to me either Brian Xiao i talk. ALOT. but, i really hate talking to people....go figure

Evan Williams yeah it can be hard to pinpoint i would say you are social in certain ways, but also cynical and sometimes overly judgemental towards certain people yeah ummm i would say the strongest points would be sense of humor, musically gifted and amazing memory and generosity ill try to narrow that down further weaken points would be cynical and judgemental (quick to react to things) + musically gifted - cynical does that help at all?

EARLY SKETCHES AND IDEAS

ostrich with his head in the sand

Humourous Antisocial tendencies

Angler Fish, Home sweet home

Measuring a sea of babies

Flying with an Anvil

Dancing on a tank of sharks

I am my own worst enemy

Drowning to tell halfEmpty or HalfFull

EARLY SKETCHES AND IDEAS

I’ve realized that I can pick up on people fairly quickly. I try to get to know people, and be able to share sort of an empathy.

However, I find it very difficult trusting people. I feel constantly paranoid, as if everyone is wearing a mask of somesort that they hide behind, and i can never quite tell who is behind the mask, until I try to get to know them.

People scare me though. When I look at people, and they’re looking at me, i feel quite intimidated.

I feel like, over the years, I’ve come to have my own mask as well, and I hide behind a false self, while my real self tries to make sense of everything first, and test out the waters.

Instructor Leonard Konopelski encouraged me to use main motifs of masks and keyholes, to symbolize ideas of invasion, privacy, secrecy, and vision.

PROCESS WORK

I’M HIDING WITHIN A MASK OF

MYSELF, JUST LIKE EVERYBODY ELSE

have you heard about

THE MAN the Man in the Iron Mask (French: L’Homme au Masque de Fer) is a name given to a prisoner arrested as Eustache Dauger in 1669, and held in a number of jails, including the Bastille and the Fortress of Pignerol (today Pinerolo). He was held in the custody of the same jailer, Bénigne Dauvergne de Saint-Mars, for a period of 34 years. He died on 19 November 1703 under the name of Marchioly, during the reign of Louis XIV of France, 1643–1715. The possible identity of this man has been thoroughly discussed and has been the subject of many books, because no one ever saw his face, which was hidden by a mask of black velvet cloth.

In the second edition of his Questions sur l’Encyclopédie (French for “Questions on the Encyclopedia”), published in 1771, the writer and philosopher Voltaire claimed that the prisoner wore an iron mask and was the older, illegitimate brother of Louis XIV. In the late 1840s, the writer Alexandre Dumas elaborated on the theme in the final installment of his Three Musketeers saga: here the prisoner is forced to wear an iron mask and is Louis XIV’s twin brother.

in the

IRON MASK

What facts are known about this prisoner are based mainly on correspondence between his jailer and his superiors in Paris.

The fate of the mysterious prisoner – and the extent of apparent precautions his jailers took – created much interest and many legends.

There are almost a hundred theories in existence and many books have been written about the case. Some were presented after the existence of the letters was widely known. Later commentators have still presented their own theories, possibly based on embellished versions of the original tale.

Theories about his identity made at the time included that he was a Marshal of France; or the English Richard Cromwell, son of Oliver Cromwell; or François, Duke of Beaufort. Later, many people such as Voltaire and Alexandre Dumas put forward other theories about the man in the mask.

I realized that the term “Iron Mask” is the perfect metaphor for what I’m describing. It raises the question of whether one wears a mask for protection, or does the mask act as a prison?

I thought about calling it “Iron Masks” (plural) because everyone has their “iron mask”; but it’s ambigious.

An iron mask can be both a thing they have on to protect their own identity, or a prison that locks them away involuntarily.

Are we prisoners beneath are mask, or is it simply a door to our true selves? Are we locked away from other people, or from ourselves? is a pretty face a cage or a key?

I think with the human face that you can’t tell if it’s real or a mask, and the keyhole, it says alot. The keyhole can be something you peek through, or something you insert a key into, to unlock. but a keyhole also means that it’s a locked door.

I also think the title “iron masks” plays off of the picture because it’s very obviously not iron. It makes you think about what the phrase “iron mask” really means. which goes both ways, because it is both a protective mask, and a prison.

ANIMATION CONCEPT

ANIMATIONfinal CONCEPT version

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PROJECTtwo Evolution of Tehnology

Assignment: A poster showing a product juxtaposed with its previous incarnation, to show the evolution of technology.

RESEARCH AND IMAGES

A metronome is any device that produces regular, metrical ticks (beats, clicks) — settable in beats per minute.

These ticks represent a fixed, regular aural pulse; some metronomes also include synchronized visual motion (e.g. pendulum-swing). The metronome dates from the early 19th century, where it was patented by Johann Maelzel in 1815 as a tool for musicians, under the title “Instrument/Machine for the Improvement of all Musical Performance, called Metronome�.

In the 20th century and especially today the metronome is generally positively regarded in Europe and Western culture. The metronome is used by some musicians for practice in maintaining a consistent tempo with steady regular beats and it can be used by composers, as an approximate way of specifying the tempo.

Most modern metronomes are electronic and use a quartz crystal to maintain accuracy, comparable to those used in wristwatches. The simplest electronic metronomes have a dial or buttons to control the tempo; some also produce tuning notes, usually around the range of A440 (440 hertz).

Sophisticated metronomes can produce two or more distinct sounds. Tones can differ in pitch, volume, and/or timbre to demarcate downbeats from other beats, as well as compound and complex time signatures. A popular quartz metronome manufacturer is Seiko.

One common type of metronome is the mechanical metronome which uses an adjustable weight on the end of an inverted pendulum rod to control the tempo: The weight is slid up the pendulum rod to decrease tempo, or down to increase tempo. (The mechanism is also known as a doubleweighted pendulum. There is a second, fixed weight on the other side of the pendulum pivot, hidden in the metronome case.) The pendulum swings back and forth in tempo, while a mechanism inside the metronome produce a clicking sound with each oscillation.

EARLY CONCEPTS

Early concepts included posters that showed the evolution of the metronome, from its classic pendulum form, to its modern digital device. However complaints and critisms were that it seemed lifeless and lacked Unfortunately, it is difmovement. ficult finding another form of the metronome because it has not changed much since its invention in the 1800s.

Leonard Konopelski adivised that i use storytelling strategies for this concept.

A metronome is something that keeps time and rythmn, and anchors the musician to a ‘grid’ when he plays.

He suggest the idea of a metronome holding time and rythmn together, like a heartbeat or like gravity.

MORE IDEAS This time, i showed the metronome as something that came from watches, clocks, and hourglasses.

Before the metronome existed, musicians had to count and keep time by themselves.

I thought the poster would almost look like a advertisement for rolex, with the tracked-out classic looking letters centered under the picture. “taktomierz� is polish for metronome.

I have watches, gears, clocks, and words coming from inside the metronome because i wanted to communicate that the metronome was the child of all the ideas of musicians, time, and measurement.

Criticisms were that the composition was too centered, and the plethora of different products jumbled inside were confusing.

The musical words were not particularly legible,

你 做 完 了 吗

Final Round AND versions

The new image made after the products inside the metronome were simplified and the composition tilted got better feedback. Still, i had to find a clever title for the work.

“Keeping Time” is a play on both watches and music. Clocks and watches are ‘timekeepers’, and musicians keep time.

A metronome does both. However minor typographic and compositional changes needed to be made.

PROJECTth3 Jazz Festival

Assignment: A Jazz Festival Poster.

Should communicate sense of music, and/or location.

EARLY SKETCHES AND IDEAS

For my concepts, i tried to give them an overall feeling of syncopation and movement, expressing the looseness and expressiveness of jazz

INSPIRATION The Dave Brubeck Quartet is an American jazz quartet, founded in 1951 by Dave Brubeck and originally featuring Paul Desmond on saxophone and Brubeck on piano.

They took up a long residency at San Francisco’s Blackhawk nightclub and gained great popularity touring college campuses, releasing a series of albums with such titles as Jazz at Oberlin, Jazz Goes to College, and Jazz Goes to Junior College.

Time Out is a jazz album by The Dave Brubeck Quartet, released in 1959 on Columbia Records, catalogue CL 1397. Recorded at Columbia’s 30th Street Studio in New York City, it is based upon the use of time signatures that were unusual for jazz such as 9/8 and 5/4. The album is a subtle blend of cool and West Coast jazz. It peaked at #2 on the Billboard pop albums chart, and has been certified platinum by the RIAA.

Broadly, “cool” refers to a number of post-war jazz styles employing a more subdued approach than that found in other contemporaneous jazz idioms. As Paul Tanner, Maurice Gerow, and David Megill suggest, “the tonal sonorities of these conservative players could be compared to pastel colors, while the solos of [Dizzy] Gillespie and his followers could be compared to fiery red colors.” The term “cool” started being applied to this music around 1953, when Capitol Records released the album Classics in Jazz: Cool and Quiet.

Mark C. Gridley, writing for All Music Guide to Jazz, identifies four sub-categories, with considerable overlap, that encompass cool jazz: “Soft variants of bebop”, including the Miles Davis recordings that constitute Birth of the Cool; the complete works of the Modern Jazz Quartet; the output of Gerry Mulligan, especially his work with Chet Baker and Bob Brookmeyer; the music of Stan Kenton’s sidemen during the late 1940s through the 1950s; and the works of George Shearing, Stan Getz.

The output of modern players who eschewed bebop in favor of advanced swing era developments, including musicians such as Lennie Tristano, Lee Konitz, and Warne Marsh; Dave Brubeck and Paul Desmond; and performers such as Jimmy Giuffre and Dave Pell who furthered Count Basie and Lester Young’s small group music.

Musicians from either of the previous categories who were active in California from the 1940s through the 1960s, developing what came to be known as “West Coast jazz”.

“Exploratory music with a subdued effect by Teddy Charles, Chico Hamilton, John LaPorta, and their colleagues during the 1950s.”

REFERENCE IMAGES

David Warren “Dave” Brubeck (born December 6, 1920) is an American jazz pianist. He has written a number of jazz standards, including “In Your Own Sweet Way” and “The Duke”. Brubeck’s style ranges from refined to bombastic, reflecting his mother’s attempts at classical training and his improvisational skills.

His music is known for employing unusual time signatures, and superimposing contrasting rhythms, meters, and tonalities.

His long-time musical partner, alto saxophonist Paul Desmond, wrote the Dave Brubeck Quartet’s best remembered piece, “Take Five”,which is in 5/4 time and has endured as a jazz classic on the top-selling jazz album, Time Out. Brubeck experimented with time signatures throughout his career, recording “Pick Up Sticks” in 6/4, “Unsquare Dance” in 7/4, and “Blue Rondo à la Turk” in 9/8. He is also a respected composer of orchestral and sacred music, and wrote soundtracks for television such as Mr. Broadway and the animated miniseries This Is America, Charlie Brown.

Desmond had a light melodic tone when playing the alto saxophone that is similar to the style of Lee Konitz, one of his influences. He was able to achieve particularly high notes, called altissimo, becoming one of the best-known players from the West Coast’s “cool school of jazz”. Much of the success of the classic Brubeck quartet was due to the juxtaposition of his airy style over Brubeck’s sometimes relatively heavy, polytonal piano work.

His gift for improvised counterpoint is perhaps most notable on the two albums he recorded with Mulligan (“Mulligan-Desmond Quartet” and “Two of a Mind”).

Desmond played a Selmer Super Balanced Action alto saxophone with an M. C. Gregory model 4A18M mouthpiece — both circa 1951 — with Rico 3 ½ reeds.

KEY AND STYLEWORDS Calm Cool Swaggering Moving

Organic Structured Airy Contrasting Archetictural Polytonal Colorful

Paul Desmond has a very light, airy playing style, which is justaposed over Dave Brubeck’s heavy chord playing. Dave Brubeck’s approach to piano playing seems to be very rythmic, and metronomic, whereas Paul Desmond has a very unconventional sense of timing.

This creates a very flowy, watery form of music that is both structured and organic.

PROCESS

FINAL version

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I’M HIDING WITHIN A MASK OF

FINAL version

MYSELF, JUST LIKE EVERYBODY ELSE

Brian Xiao i talk. ALOT. but, i really hate talking to people....go figure

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