GD505/GD506 2022/23 Mateusz Galazka PDJ

GD505/GD506 EDITORIAL DESIGN/ADVANCED TYPOGRAPHY MATEUSZ GALAZKA 2022/2023

GD505/GD506 EDITORIAL DESIGN/ADVANCED TYPOGRAPHY MATEUSZ GALAZKA 2022/2023

1. Rationale

It requires skill to manipulate text, and a keen eye to produce effective page layouts that engage with the reader. Editorial design is much more than simply placing words and images together. It requires the designer to understand where the emphasis of a narrative piece lies, as they need to consider visual hierarchy in terms of importance and em phasis. This module is designed to raise students’ awareness and their appreciation of what edito rial design is and how it should be approached. Much contemporary layout design breaks with conventional application, so once understood; there is an opportunity for students to produce ideas and outcomes that challenge the norm. Students will produce work that applies text, images, colour and layout to a range of traditional and digital formats.

2. Aims and distinctive features

• To increase students historical and theoretical appreciation of editorial design

• To encourage students to develop practical understanding of the communicative interaction between contemporary page formats, text ar

rangement, image sequencing and layout

• To enhance students’ skills in the production of work that explores the role of proportion, grids, hierarchies and visual systems in structuring and formatting a wide range of complex information

3. Module learning outcomes

On completion of this module, students should with guidance be able to:

1. Evidence theoretical understanding of editorial design practices through historical and contemporary investigation

2. Apply editorial proficiency through concepts that explore and challenge the relationship between text, image and information

3. Develop and produce highly developed out comes that present complex information in exciting and engaging editorial formats

4. Present and evaluate a communication outcome to an audience in an appropriate editorial format.

4. Learning and teaching strategy

This module will be delivered through Project Introductions and Briefing Sessions, Lectures, Creative Workshop, Interim Critiques, Tutorial Opportunities, One-to-one tutor feedback, Peer review, and Feedback, Formal Presentations. The module will be delivered over 5 weeks and consists of technical workshops, discussions and one to one tutorials. Students will develop the necessary skills and understanding to carry out practical tasks and projects.

6. Assessment strategy

SA1: The research phase of this module aims to raise students’ awareness, build their knowledge and

understanding of editorial design theory, and gather visual sources that identify a range of practical processes and applications. The practical tasks that follow will be undertaken in response to a set creative project brief. The Re search and Development Journal will also provide an overview of on-going visual exploration and experimentation, when supporting evaluative annotations will also be included as part of the content.

5.

Arrangements for revision and private study

Learning Resource Centre.

SA2: The demonstration of creative and technical skills will be used to assess students’ effectiveness in the interpretation of the project brief and its requirements. Outcomes will be presented as a range of final editorial proposals presented in a digital progress development journal. This will include all creative work from initial ideas, to the development and digital realisation of final proposals.

Introduction to grids

A grid, its function and role

A grid is one of the foundamental aspects of editiorial (and not only) design. It is a map which allows designer to organise elements on a page. Grid gives us a possibility to bring order, hierarchy and aesthetics to a piece. We know various types of grids, depending on a need. When designing grid, we design a system in which the design will be placed. To decide on what grid we will use, we need to take in consid eration a few aspects, like: -format of the piece, -size of the piece, -content of the piece, etc. Grids can be symmetrical or asymmetrical. To get to know more about grids, I recently started reading Basic Design: Grids by Ambrose/Harris.

Workshop 1

Identifying the grid and its elements.

Our first workshop this year has been focused on one of the fundaments of the graphic designthe grid. After a morning lecture about what the grid is, what are the elements of the grid etc., we were asked to find a magazine or a newspaper and identify and examine a grid that has been used. We also got some of the books recommended -

The Typographic Grid by Bosshard and Grid Sys tems in Graphic Design by Josef Mülller-Brockmann. Like Francisco said, these are must-read for every aspiring graphic designer. I started reading the second one already. After the lunch break we came back online and talked about our findings. Many interesting points has been made this afternoon. I examined a newspaper, while my peer did a magazine, so we could see what are the differences. “The mail” newspaper was the choice of mine. Most of the pages were constructed out of 5-column grid, which gives designers more flexibility and freedom when placing content. I can see that most of the newspapers use multicolumn grid. It helps to incorporate large number of information within low number of pages.

On the other hand, the magazine design examined by Anthony did not go over 3-column grid. That was enough to keep it interesting and visually aesthetic. Mine and Francisco’s point was that magazines’ designs are most of the time more visually pleasing, experimental and refined than newspapers’ designs. That may be because of the fact that a magazine can take from one week to 3 months to be designed, while newspapers are made in hours. On the next page I placed pages I have examined, along with some notes and explanations.

The second part of today’s meeting was a brief explanation of a next challenge which is redesigning a kebab shop leaflet. Our tutor has done a quick refresher of InDesign to ensure that we are aware of all the basic features, that would help us working on the exercise. We’ve got to create a 3-4 improved layout versions of the leaflet.

Margins

GD505/GD506

Workshop 1

Redesigning kebab shop leaflet

The next part of the workshop section of this module is to find a better solution for the given kebab shop leaflet. Using knowledge gained in year 1 as well as at the beginning of this year, we were asked to redesign the leaflet to create a better version, aesthetically, visually and technically. First, I will look into possible formats. As I imagine this piece as a leaflet rather than a menu, I think, that an A4 trifold may be a good start. Another solution is A5 double-sided, but that may be a bit boring. A4 trifold will give me enough space to work with, and the creases will create nice, physical separations between sections. I am going to start this exercise by retyping the content into InDesign.

GD505/GD506 EDITORIAL DESIGN/ADVANCED TYPOGRAPHY MATEUSZ GALAZKA 2022/2023 WORKSHOPS

Workshop 1

Redesigning kebab shop leaflet

After choosing the format of the leaflet I needed to retype all the contents into InDesign. I have tried using software to do that for me, but the image isn’t in high enough resolution for this to work. Please, don’t mind the mess. I just wanted to have it all ready to work with. To start with, I needed to look at the content and think about what grid would be the best for the given elements. As this leaflet serves as a menu, it contains -dish name, -ingredients/extras, -price That tells me that a 3-column grid would be my best bet.

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Vegetarian Peppers, Sweetcorn, On ion & Mushrooms

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Tropical Pepperoni & Pineapple Meat Feast Pepperoni, Beef & Chick en

Chicken Supreme Chicken, Sweetcorn & Mushrooms

GARLIC BREAD

Garlic Bread Garlic Bread with Cheese

KEBABS

Lamb Doner

Chicken Doner

Lamb Shish Chicken Shish Mix Kebab Royal Special

9” £5.00 £5.00 £5.00 £5.00 £5.00 £5.00

10” £7.50 £7.50 £7.50 £7.50 £7.50 £7.50 12” £3.99 £4.99 Large £4.40 £5.50 £5.50 £5.50

BURGERS (with cheese extra 10p) 1/4 Pounder 1/2 Pounder Chicken Burger Veggie Burger Fish Burger

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VEGGIE/SALADS Salad in Pita Salad with hummous in pita

CHIPS Chips Cheezy Chips Fish & Chips Chips with Hummous Potato Wedges

Reg £1.40 £2.10 £4.00 £2.10 £1.60

FRIED CHICKEN

Meal 1 £2.90

1 piece Chicken Chips Drink Meal 2 £3.60

Large £2.10 £2.90 £3.60 £2.60

2 piece Chicken Chips Drink Meal 3 £4.99

3 piece Chicken Chips Beans Coleslaw Drink Meal 4 £5.80

5 piece Chicken Chips Beans Drink Meal 5 £6.80

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£2.40 £3.40 £2.40 £2.40 £2.40 £2.10 £2.60 9” £2.99 £3.99 Reg £3.80 £4.00 £4.00 £4.00 £5.50 £6.50

Coleslaw £0.80 Beans £0.50 Garlic Mayo £0.50 Chilli Sauce £0.50 Cold Can £0.65 Water £1.00 Bottles £1.20

Terms and conditions* One voucher per transaction. Not to be used in conjunction with any other offer.

Workshop 1

Redesigning kebab shop leaflet

These are the four grid options I have designed for this leaflet. I have taken the content into consideration and this is the best solution I could come up with. Now, I will translate the sketches to InDesign and start working on elements of the leaflet in Illus trator.

The elements I prepared in Illustrator are the logo and the ribbons. I wanted to keep things simple and not overcomplicate the design, as well I did not want to spend too much time on designing a logo, as this is not the main point of the work shop. I went for the simple crown, as it refers to the name of the business. Ribbons are often recognized as decoration of palaces and castles, this is why I used these to enrich the design.

Workshop 1

Redesigning kebab shop leaflet

Three-column grid with wider ones on the sides and thinner ones in the middle feels like the best way for the content given. Once I had the content retyped, I put everything together, as you can see on the right side of this page. The design is rather simple. I used Trajan serif typeface to give it a royal, noble feel. Black, yel low and orange would symbolize fire and barbecue. When we worked on competition briefs back in Year 1, we researched colour theory. I remember that orange, yellow and red may make people hungry, that’s why they are widely used by fastfood restaurants. I took that into consideration when choosing my colour pallet.

Tutor Francisco’s feedback was mostly positive, he admitted that the piece is already 10 times better than the piece given, that it has a clear structure, and can be read easily. He pointed out, however, a few flaws of the design, like the black background, which may be overwhelming for the viewer. The yellow elements (the ribbons) are too strong in colour and size that they almost fight for attention with other elements. Last, and the most important concern was - what is going to be on the other side of the leaflet?

Can Water Bottles

REG £3.80 £4.00 £4.00 £4.00 £5.50 £6.50 9” £5.00 £5.00 £5.00 £5.00 £5.00 £5.00 9” £2.99 £3.99 £0.80 £0.50 £0.50 £0.50 £0.65 £1.00 £1.20

Lamb Doner Chicken Doner Lamb Shish Chicken Shish Mix Kebab Royal Special £2.90 £3.60 £4.99 £5.80 £6.80 LARGE £2.10 £2.90 £3.60 £2.60

REG £1.40 £2.10 £4.00 £2.10 £1.60

LARGE £4.40 £5.50 £5.50 £5.50 10” £7.50 £7.50 £7.50 £7.50 £7.50 £7.50 12” £3.99 £4.99 £2.10 £2.60

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Workshop 1

Redesigning kebab shop leaflet

Francisco has encouraged me to try something different than a traditional leaflet and to step out of the comfort zone. I decided to go for something I never really felt strong at illustrated design. I also designed an experimental form of ordering food - choose your food based on what you’ll use to eat it.

As I said this is quite experimental, but I wanted to show my ability to jump between styles and formats. This time I used an A5 format double-sided with no folds. The colour scheme is pas tel and very rich in terms of quantity, but that fits the style. On the back side of the leaflet, I tucked all the content within 6 column grid with some elements breaking it in a playful way.

FORK HANDS

KEBABS

Lamb Doner 3.80/4.40

Chicken Doner 4/5.50

Lamb Shish 4/5.50

Chicken Shish 4/5.50 Mix Kebab 5.50

Royal Special 6.50

SALADS

Salad in Pita 2.10 Salad with hummus in pita 2.60 Specials

PIZZAS 9”/10”

Margherita

Vegetarian

Beefy

Chips

CHIPS 5/7.50 Cheezy Chips 2.10/2.90 Fish & Chips 4 Chips with Hummus 5/7.50 Potato Wedges 1.60/2.60

extras

coleslaw 0.80 beans 0.50 garlic mayo 4 chilli sauce 0.50 cold can 0.65 water 1.00 bottles 1.20

Meat

bread garlic bread 2.99/3.99 garlic bread with cheese 3.99/4.99

Extra Toppings 70p Pepperoni, Ham, Beef, Chicken, Mushroom, Onions, Peppers, Sweetcorn Pineapple

Workshop 1

Redesigning kebab shop leaflet

For my thrid project I carried on with experimental approach. This time I wanted to create more of high-end feel, while keeping in mind that this is still a kebab shop, where we can buy a meal for a fiver. I have chosen an A5 format bi-folded, with 2 column grid on a page. Playing unusually with typography was a main point of the project, as you can see, two typefaces are merged together to create this sort of look. Generous leading, sim ple shapes and not many elements overall creates this leaflet. The spread on the right is back a front cover.

e Xtras

SAL adS

Salad in Pita 2.10

Salad with hummus in pita 2.60

garlic

bread

garlic bread 2.99/3.99

garlic bread with cheese 3.99/4.99

SunDRIES

coleslaw 0.80 beans 0.50 garlic mayo 0.40 chilli sauce 0.50 cold can 0.65 water 1.00 bottles 1.20

Workshop 2 Designers research

The second workshop of our first module is about researching the editorial work of famous design ers. We were provided with a list of individualities, so I am going to highlight a bit of informa tion about two of them, but before that, I will look into all of them to find inspiration and get to know these designers.

Neville Brody 1980’s Design trendsetter

Born in 1957, Neville Brody is a British graphic designer associated with the defining moment of British graphic design in the 1980’s. He is known as a lead designer of the style magazine The Face, published in the 80s. Brody studied at the London College of Printing.

Neville Brody is known for its influential, energetic, and youth-styled approach to layouts. As a student, Brody admired the work of designers like El Lissitzky or Rodchenko. He started his career path working as a record designer for music labels.

Neville Brody

1980’s Design trendsetter

Neville Brody is known for introducing street style to his designs. This was quite innovative at the time. Working as the record designer influenced Brody’s later work. Neville worked as an art director for The Face for six years, where he experimented with combining type and graphic symbols, photography and such. Brody created by hand with computer aid at times.

To focus on the exercise objective, I am going to examine a piece of Brody’s work in terms of edito rial design.

On the right, we can see a spread from The Face magazine. Brody was famous for creating his typography for the needs of the magazine. In this case, he designed the title “Warhol” who is being interviewed. Like the author of the Pioneers of Modern Graphic Design notices, Brody uses the same portrait of Andy Warhol six times to refer to the artist’s interest in repetition. The title spreads over two pages. The first letter of it is highlighted with strong black colour, which certainly draws our attention to the starting point of the spread. From there, our eye travels to mentioned six portraits, which are in black and white. In the end, we notice two columns of body copy, which are right-aligned.

Neville Brody experienced a massive shift in graphic design, which was the popularization of digital techniques. He was one of the first to experiment with digital type, creating trends and promoting ideas. The digital world has opened so many ways for creatives like Brody. Together with

Click on the image to see GIF

Jon Wozencroft, he has been publishing a digi tized, interactive and innovative magazine Fuse, a publication about fonts and typography. There are printed re-editions available today. Brody loved to create his own titles. His layouts were rarely straightforward. He likes to experi-

ment with digital effects. His poster designs were sometimes illegible, as he puts aesthetics and play with type before legibility. Some of his layouts be came iconic. Brody was not afraid to tilt the type.

Click on the image to see GIF

In my opinion, on the Bounce It famous poster for Nike, Brody took into consideration the rule of thirds, where a page should be divided with four lines, two parallel lines horizontally and two vertically.

Saul Bass

American graphic designer with a unique style

Saul Bass, who was born in 1920 and died in 1996 was an American graphic designer who had a massive influence on the design world. His unique style was a fresh approach to thetwentieth century’s world of design. He is known mostly for his work for the film industry. Author of many iconic posters. Just by looking at some of the Bass’ work, we notice a unique style. uneven, rough shapes, that look almost like cut-outs, grungy textures and mixing photography or illustration with type - these are Saul Bass’ trademarks.

Although rough and uneven, there is a structure in Bass’ pieces. On the right is the poster for The Man With The Golden Arm movie. Cut-out shapes fall into the structure of a well-thought grid. By clicking on the image, we can see the structure of the grid. Saul Bass connects shapes, photogra phy and typography in this piece, and all of these elements together create a powerful, visual piece of design.

Moreover, the design (on the right) is flexible. Shapes can be changed in size and shape to adapt to a different format, without losing their power. Strong layout which guides our eye around the piece. Well-thought colour selection. Note how the yellowish colour differs from others, to add importance to the title.

I am impressed by Saul Bass’ layouts. The idea of aligning and not aligning elements at the same time is genius. This can be great clue we it will come to create a board game with natural, organic theme.

Click on the image to see GIF

Research

Editorial design

Editorial design is a branch of graphic design that includes layout, poster, book or magazine design etc. It combines clever layout decisions with typography skills, making pieces look organized and tidy.

I dived into examples of editorial design and I was amazed at how many great ideas are out there. I could not choose only 15 examples, as there are way more genius layouts. Aesthetically pleasing, with a visual hierarchy and - very importantlyunderstandable and legible for a reader.

GD505/GD506 EDITORIAL DESIGN/ADVANCED TYPOGRAPHY MATEUSZ GALAZKA 2022/2023

GD505/GD506 EDITORIAL DESIGN/ADVANCED TYPOGRAPHY MATEUSZ GALAZKA 2022/2023

GD505/GD506 EDITORIAL DESIGN/ADVANCED TYPOGRAPHY MATEUSZ GALAZKA 2022/2023

Board game

Project Information

You must produce a board game design based on one of the following environmental themes, that provide information and game mechanics that engage with your target audience.

· Air pollution

· Ocean pollution

· Dirty fuels (coal / oil)

· Animal extinction

· Deforestation

· Food shortage

· Waste disposal (chemical / nuclear)

· Ozone layer depletion

· Loss of biodiversity

These categories can be broken down into a number of associated themes, so explore as many as you can in order to demonstrate wide thinking and investigation. The more abstract or unknown your chosen topic, the more interesting it will be to play, interact with, and also learn from.

Research

Possible themes - Air pollution

Air pollution is a term that refers to the contamination of the air by harmful fumes, gases or dust being released into the atmosphere.

Air pollution is a serious problem in today’s world. With the super-fast development of all sorts of industries, more and more factories release harmful substances into the atmosphere.

The reason why it is serious is that this problem touches all living organisms on the Earth. Causes of air pollution include:

-Burning of fossil fuels, -Agricultural activities, -Waste in landfills

-Exhaust from factories and industries, -Mining operations, -Natural events.

(Rinkesh et al., Causes, effects and impressive solutions to air pollution 2022)

Board games

Introduction

Board games are tabletop games that use a board and pieces. Board games usually use a dice, cards or other elements, depending on the game. Some games require strategic thinking, skill or luck. First ever board game has been played by Egyptians in about 3500 BC! That’s over 5500 years from now. (Interesting facts about board games: Just fun facts 2021)

Types of the board games

We all once played some board games. Monopoly and Chess are both board games, but they’re completely different, in term of rules, board elements and design.

1. Engine Building Board Games

In this type of game, player will gather resources, to later wisely use them in order to build some thing. This kind of game will require making smart decisions. These will usually include tiles and cards.

Examples: -Fantastic Factories, -Everdell, -Terraforming Mars

2. Deck Building Board Games

Similarily to the engine-building games, a player will have to build their power by collecting cards. These are the main part of these types of games. Players will start with a basic hand, and depend ing on their decision and luck, will progress through the game to victory.

Examples: -Dominion, -Fort, -Dune

3. Eurogame

These games are strategy focused. The name ‘Eurogame’ comes from the fact that they were first introduced in Europe. Promotes competitive gaming and involves more thinking and planning.

Examples: -Paladins of West Kingdom, -Catan

Board games Design

examples

Board games world is huge. Everyone would find a right game for them. From simple games like “Snakes and Ladders” to more advanced ones. Board games are great alternative to video games, where people can gather together and spend quality time.

This year we are challenged to create are own board game. This is a project where we can exhibit lots of our skills, like typography, illustration and editorial design - all in one project! During first two weeks of the module I had some time to think about my theme and age group. After a few hours of talks with my tutors and debating about possible themes, its pros and cons, I decided to go with water wastage problem - as this is the issue that does not have other end - water waste is always a bad idea. Since the youngest generations, kids are the ones that the education of should be our priority - I decided to create a game targeted to 8-12 -year-old children.

This is why my research focuses around games for kids, but it is not limited to.

GD505/GD506 EDITORIAL DESIGN/ADVANCED TYPOGRAPHY MATEUSZ GALAZKA 2022/2023

Board game

Design idea

Pipe Rush (working title)

Players: 2-5 Age: 7-12

Type: Roll and Move

Pipe Rush, a board game where the player, who comes to the finish line first, wins. The classic mechanism of Roll and Move, where luck, but also knowledge is required. There will be question fields all over the board, as well as boost and slow ing down fields. Players will also collect special power cards (boost the boost etc.) which will help them succeed. The game will come with a timer (up to 5 players). The timer will be counting the time we take to make our move. The quicker, the better!

The game will be rather simple in rules, with lots of facts about water wastage, and what could be done better to limit waste. Said timer will encour age focus and quick thinking. No mobile phones nearby!

GD505/GD506 EDITORIAL DESIGN/ADVANCED TYPOGRAPHY MATEUSZ GALAZKA 2022/2023

Board game

Pipe Rush Basics

These are basic map elements. A player will move on the path which will look like a pipe system. There will be turns, junctions, boost and slow fields, as well as valves, which will need to be shut in order to get a Special Power Card. To move around the map, a player will roll one dice. Question fields are to be added. This will add an edu cational factor to the game. By getting a question right, a player will receive a reward. The game will contain a timer. This will add the ‘rush’ element to the game. Each player will have their own timer, which will need to be switched on at the beginning of their turn. This is why rolling the dice, moving the piece and answering potential questions will have to be done quickly.

Board game

Pipe Rush

Question Cards

Question cards will be drawn from the stack when a player lands on a Question Field (‘?’ field). A reward for answering a question right will be printed below the question. I am not sure yet if there will be penalties for not answering the question.

This will be the educational part of the game. The questions will be about the game theme, which is water wastage. It will help kids to understand what are the causes and consequences of wasting water.

On the right we can see three initial projects of the question cards reverses. First one is unusual one, as the card has irregular shape (shaped like the pipes from the board). Other two are traditional rectangle-shaped cards, which are slightly different in term of layout.

Board game

Pipe Rush

Special Power... card? disc?

Special Power is another idea to enrich the gameplay. A player will be able to shut the valves on special points of the map (this will require making more moves than just going straight to the fin ish line) and receive special power card (or disc). These will help a player to finish the game quicker or passing a question to the other player, etc.

The board

Pipe Rush

More advanced sketches of the board

After the morning class with my tutor, I proceeded to the next stage of the project - creating a moodboard and advanced sketches of the map (board). A very interesting finding was the indus trial-like kids’ room design.

The board

Pipe Rush

Digital experimentation

It was now time to try to design the pipe modules in Illustrator. I did not know what style I should go with, so I experimented. I came up with 8 different style ideas and sought for feedback. The one with the most interest is the bottom right, it just needed a few tweaks pointed out by Francisco. I am not decided on colours yet, so they are just for aesthetic purposes for now. A pipe is a 3D object, it is a geometric shape that casts shadows. I simplified the shadow as much as I could to achieve a clean, neat look. The challenge will be to make the shadow consistent across the whole board.

The board

Pipe Rush

Building the map

Once I was sure about what elements I will use to create my board, I started building it. I placed the sketch underneath it and started following the path. Because this was not an exact sketch with measurements, I had to make some changes to the map itself.

The board

Pipe Rush

Building the map

As the map startedtt getting into shape, I noticed a few flaws. I didn’t like the spot where the pipes overlap - it looked okay on paper but may create some confusion for players. I rebuilt it to avoid the overlap and now it looks much better in my opinion.

The board

Pipe Rush

Building the map

After a few hours of careful copying and pasting elements of the map... the ‘pipe path’ is ready! It’s just a start, I will look into colours, and some details too, like question fields, boosts and the valves.

When creating my initial moodboard, I found room designs interesting. I dug deeper into that and found some more examples that can have some influence on my project.

The board

Pipe Rush

More moodboards...

This moodboard consists entirely of room designs, which, as I said, I found great inspiration. Note the pattern on the rug in the middle-top picture. Looks like simplified water splashes. I will try to create something similiar for the background of my board.

The board Pipe Rush

Working on the background

I thought it will be easier... But finding the right colours that would contrast well with the pipes was quite a challenge. I have chosen dark blue because it had to be a darker colour to contrast well with light grey, and... blue reminds us of water, right? I placed a hard shadow of the pipes as well to help emphasise the map. The next step will be to add some details to the background. I will go back to my moodboards and search for some more inspiration.

The board

Pipe Rush Typography

Typography elements will be needed for the board, even though it is mostly built out of graph ic elements. Words “Start” and “Finish” will need to indicate starting and finishing points on the map. One of my initial thoughts was comic books title typefaces, something bold and playful, like the references on the right.

The board

Pipe Rush

Working on the details

Players obviously would like to know, where the start and finish are on the map. Keeping in mind that this will be a kids’ game, I used a playful typeface, which I customized to add originality.

The board

Pipe Rush

Working on the details

The valves are important elements of my game. That is why I will make sure, they are visually interesting and are catching attention, so the players know where to go.

The board

Pipe Rush

Working on the details

In this step, question and boost fields have been added.

During our class on Tuesday (18/10/22) my tutor and peers suggested changes to the board design. Francisco said that the path itself feels a bit small compared to the background, and Anthony raised the issue of shadows on pipes. That was very valuable feedback this morning.

The board

Pipe Rush

Finalizing

The time has come. The board is finished.

*Pipe Rush! logotype has been later change to lighr blue colour.

Board game

Pipe Rush

Question cards

Today (18/10/22) I stepped away from the board design for a while and focused on cards. First - question cards. I imagined a reverse as a card with metallic, pipe’y colours (same as I used for the pipes on board) with question mark in the middle. For the other side of the card, there would be a blue, curvy backgroud that we know from the board, question and answers on top of that, and an illustration of an object that the question is regarding.

GD505/GD506 EDITORIAL DESIGN/ADVANCED TYPOGRAPHY MATEUSZ GALAZKA 2022/2023

Board game

Pipe Rush Logo

Even a board game needs some kind of mark that will help it be recognized. My first idea about a logo for this game was a title built out of pipes. After a while this idea became a bit boring, something too obvious. Francisco pointed out that the word “pipe” that is build with pipes is not the smartest approach. When searching for a display typeface for my game, a found Marvin. Play ful, kids-like typeface that fits just perfect into my game. You may have seen it a few pages back, when I worked on the word Start! for my board. I thought that I will create a logotype based on that typeface, with modifying it to my liking.

GD505/GD506 EDITORIAL DESIGN/ADVANCED TYPOGRAPHY MATEUSZ GALAZKA 2022/2023

Update 21/11/2022

These are two alternatives, one-coloured versions. Somehow I liked it more than the original, stroke version. Tutor Simon’s feedback encouraged me to use the previous version as it contrasts better. I am considering swapping the logotype across all the materials.

Characters

Pipe Rush

Characters (and their cards)

Today’s afternoon was spent entirely thinking about characters that I want to include as a part of my game. I knew that I wanted to create characters that are based on microorganisms living in the water. After initial research, I found some references that would help me to start drawing my characters. After gathering the essential reference, I began reproducing them in Illustrator. I knew what style I need to go for - flat, with flat shadows, and hard drop shadows - like I did for the rest of the elements of the game. My plan was to give the characters some human attributes. I thought that big, cartoony eyes and mouth would do the job. It came out better than I expected.

Characters

Pipe Rush

Characters (and their cards)

‘Pipe Rush’ will educate through play. Another educational aspect of the game will be characters based on microorganisms that live in the water. They will not have any significant influence on the game itself, but it will let the players relate to specific characters while playing. The character are designed in a similiar style to the rest of the game, simple, vector shapes with simple shades and highlights, with well-known drop shadow that is used everywhere else. It was fun designing it, I never tried it before as I thought I am not good enough to do it, but I guess it is all about trying and failing. Meet Hailey, Amadeus and Eugenia.

Character cards

Pipe Rush

Characters (and their cards)

Designing the characters was just half of the work. Now, I needed to put them on a card and find a layout solution that would work. After a class with Francisco, I had a couple of ideas and inspirations. He suggested looking at pokemon cards as well as a few other references have been mentioned.

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GD505/GD506 EDITORIAL DESIGN/ADVANCED TYPOGRAPHY MATEUSZ GALAZKA 2022/2023

GD505/GD506 EDITORIAL DESIGN/ADVANCED TYPOGRAPHY MATEUSZ GALAZKA 2022/2023

GD505/GD506 EDITORIAL DESIGN/ADVANCED TYPOGRAPHY MATEUSZ GALAZKA 2022/2023

GD505/GD506 EDITORIAL DESIGN/ADVANCED TYPOGRAPHY MATEUSZ GALAZKA 2022/2023

Update 21/11/2022

As I said earlier, I have decided to change the logo in this advanced stage of the project - to tie everything else to the board and the box. These displays changes that have been done to the char acter card reverse.

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GD505/GD506 EDITORIAL DESIGN/ADVANCED TYPOGRAPHY MATEUSZ GALAZKA 2022/2023

Board game

Pipe Rush

Super Power Cards

The last set of cards is Super Power Cards, which can be obtained by shutting one of the valves on the map. Collecting cards will not be necessary to win the game, but it will significantly help players to progress through.

The cards will be round-shaped - the design will be strongly connected to the valve design from the map. Francisco gave me an idea about text placement on such cards. Instead of traditionally putting text in a box, why not put text on a spiral curve so players will have to spin the card in order to read the content?

Traditional approach Text on the path

Caerferitium fugit es doluptatum aciatus nis quoditat dolor assincto eribusanis num is mo lupta tenduci liquias simus.

Fictas asped ut rerro voluptas sum invenima cullit aut aut lab ipitiunt molorem olorum il ium

Optiumdol

I modified Francisco’s idea and decided to put text on a circular path instead of a spiral. The amount of text will rather be small and will fit on a circle. I created the first designs of the cards. However, I feel like something is missing here.

I asked for feedback and got one. Francisco point ed out my use of a logo and the consistency of its usage throughout all the elements, advised me about the general design of the card and showed me, what can be done better.

I came back to this project after a couple of days of working on other pieces. Below, is the initial version. See the next page for the final design.

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Initial project

Upadated final

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Workshop 3

Part 1: Create an interesting typographic

design

The beginning of November brought us a new workshop. We need to design a type-based title for one of the given made-up games. Choices are:

Castle Siege: Beat your opponent in exciting me dieval battles!

Chocolate Factory: Create tasty confectionery, sell your stock and win!

Cocktails and Criminals: A game of chance set in 1930’s New York

TurboMechs: Build your steampunk engine. Win the race!

Midnight Strike: A game of cold war strategy

Planet Shuttle: Take space travel to the next level!

Puppet Master: Defeat the evil puppeteer and take control!

Runaway Loco: Dominate the world in this fast paced game!

Hydrosphere: Save the world’s oceans in this underwater adventure!

Empire of the Bees: Collect pollen and build the ultimate hive!

During our yesterday’s class, Francisco spent a good while explaining what he expects from us and to be aware of the most popular approach. Seeing the same “Chocolate Factory” title for the 10th time isn’t what tutors expect - we must rather think unusual and come up with something more original. Francisco encourages us to be more experimental.

I thought about my choice and I kept coming back to Castle Siege. This may be the direction I would go in. I started building a simple, initial mindmap and have a few ideas already.

I had to hold the workshop up for a couple of days because the pen I ordered needed a few days to arrive. Once I finally got it, I had a play with it and was surprised about how good the results can look. Sadly, I noticed, that as a left-handed person, it is difficult to write without smearing the ink all over the page. I definitely was put off by that, but I wanted to produce something anyway.

Workshop 3

Part 1:

Create an interesting typographic design

I started by creating a moodboard and writing on the paper. It is a valuable lesson of calligraphy for me, I did not think that this workshop would bring me to this.

Workshop 3

Part 1: Create an interesting typographic design

Some of my first tries. This does not look any thing like the end project, but I had to go through it to explore more possibilities.

Workshop 3

Part 1: Create an interesting typographic design

Somehow, I moved away from the original idea of medieval, blackletter type and ended up creating these tall, geometric letters. While experimenting, I noticed that the title itself can look like a castle (not so obviously though, it is more subtle effect). Once I felt like I experimented enough on the pa per, I moved to the PC and worked in Illustrator.

Workshop 3

Part 1: Create an interesting typographic design

Somehow, I moved away from the original idea of medieval, blackletter type and ended up creating these tall, geometric letters. While experimenting, I noticed that the title itself can look like a cas tle (not so obvious though, it is more of a subtle effect). Once I felt like I experimented enough on the paper, I moved to the PC and worked in Illustrator.

The image on the left is a blackletter idea traced using a pen tool in Illustrator. The image on the right shows experimenting with the perspective grid tool. This was the first time when I used this tool. I wasn’t happy with the result, so I decided to move to something different.

Workshop 3

Part 1:

Create an interesting typographic design

This is the design that later will become my final. During our class on Tuesday, I got some useful feedback from Francisco and decided that I will work more on this project. The tutor commented on white space, stroke width and other elements of the design that could be improved.

To improve letter spacing, I had to manipulate some of the letters themselves. For example, the space between A and S required changing the shape of A to make it better balanced. I also put more work into checking every bit of white space in the design, making sure it is even where it needs to be.

Progress stages

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Final stage

This is the final design. I exported the file as .PSD in Illustrator, which will let me work on specific layers in Photoshop. Applying masks and painting will be much easier. As a background texture, I used a stone wall which I edited to suit my needs. For the typography I used met al, steel brushed texture which reminds me of medieval weapons. Some blood splashes have been added to the ty pography as well as in the background. To finish it off, I added photos, which I masked out. It created an interest ing effect. When looking at the box, we look from point of view of a knight, who is about to attack the castle.

Workshop 3 Part 2: Analysis of the typographic work of chosen design-

ers

The second part of the third workshop of the module asks for research and analysis of the work of chosen designers, focusing on their typograph ic designs. The list has quite a few names on it, I had to go through every name to find two, that will suit me the most. In addition to the research part, I was asked to create a design inspired by the work of the chosen designer.

· Saul Bass

· Massimo Vignelli

· Adrian Frutiger

· Neville Brody

· Herbert Matter

· Max Miedinger

· Paul Rand

· Milton Glaser

· Tobias Frere-Jones

· Alan Fletcher

· Alexey Brodovitch

· Claude Garamond

· Stefan Sagmeister

· Jonathan Barnbrook

· Stanley Morison

· David Carson

· Wim Crouwel

· Carol Twombly

· Paula Scher

· Eric Gill

· Paul Renner

· Chipp Kidd

· Josef Muller-Brockman

· Jan Tschichold

· Matthew Carter

· Erik Spiekermann

· Josef Muller-Brockman

I have chosen Stefan Segmeister and Wim Crou wel, as their work feels strongly inspiring to me. I think that in-depth research will help me under stand their techniques, inspirations and motives.

Wim Crouwel

was one of the greatest graphic designers in the World. Worked during twentieth-century Dutch designer and author of some of the iconic typefaces like New Alphabet. In addition to design contri butions, he also taught at several univerisities.

Wim Crouwel is a known type designer, who created iconic typefaces (New Alphabet, Gridnik).

He also designed post stamps for Swiss Post. Wim was the author of many famous posters at the time (Hiroshima, 1957; Fernand Leger, 1957). Wim Crouwel’s design was very popular at his time. His ideas were Bauhaus related. In 1954 Crouwel designed the catalogues for the Van Abbe Muse um - this time, Wim was challenged with creating a catalogue for a museum, which cannot be an interpretation of the artist’s ideas. The catalogue was meant to represent the museum, not the individual artists. This task resulted in a couple of great designs. Crouwel appreciated the neutrality of typefaces, he was a fan of faces like Helvetica or Gill. He often focused on the readability of his work - however, if he were to choose between readability and aesthetics - he chose aesthetics.

Total Design

Crouwel and a few of his colleagues designers started a design studio called Total Design. What set apart Total Design from other studios was that it accepted major work from the government, as well as commercial clients.

New Alphabet

Wim Crouwel was born on 21st Nov, 1928 in Netherlands. He studied Fine Arts at Academie Minerva in Groningen in the years 1946-1949. Lat er, (1952-53) he studied Typography. Wim started working as a freelance designer in 1954.

Crouwel’s work’s main ingredient was typograhy, but with time, other elements such as linework or reproductions would find their place in his work.

The most popular Crouwel’s typeface was designed in 1967. The inspiration for creating this typeface has born after seeing the digital production of Garamond. Wim noticed how horrible it looked because of the digital limitations at the time. He thought that it would be best to design a typeface that is meant to be used digitally. He then created the New Alphabet with straight lines, 90-degree angles and 45-degree roundings - bigger or smaller, the typeface appeared the same. It is a monospace typeface, which means every letter takes the exactly same amount of space. An interesting fact is that the New Alphabet was never meant to be really used - it was developed only as a theory. Wim gave lectures on this subject, so the idea gained popularity. 30 years after the original experimentation, Crouwel digitized the typeface.

W o r k w o r k w o r k

“It was actually quite difficult to avoid Wim Crouwel’s work. In the 1960s the Netherlands was inundated with posters, catalogues, stamps designed by him, even the tele phone book.”

- Karel Martens

Stefan Sagmeister

Austrian graphic designer, typographer born in 1962. Sagmeister studied graphic design in Vienna, graduating in 1986. Later, he’s got fine arts degree at the Pratt Institute in New York.

Stefan Sagmeister created a lot of controversy around himself. Some people dislike him for that.

Stefan has keen interest in music. He worked for numerous music brands and names, designing covers for them. Sagmeister was even awarded a Grammy - a biggest reward you can get as a musician (or a person associated with music).

when a content is personal and deeply human. His design philisophy can be described in a few words: To touch the heart of the viewer.

Stefan Sagmeister typography work is one of a kind. Very often we can see usage of real-world objects to form letters and words. As we can see on the photography on the left - Stefan sometimes makes type come alive - literally. In one of his interviews for creativepro.com Sagmeister says that he tends to use handwriting

Concept/design for a typographic installation billboard at Hou ston & Lafayette in Soho. Art Direction: Stefan Sagmeister.

Rules book

Pipe Rush

Instruction book

I am working on the board game and the new workshop simultaneously. It requires managing my time better, as the workload tends to get big ger.

The instruction book is a part of almost every board game. It outlines the rules, setup and components of a game. My initial thought about an instruction book was that is the most boring part of every game, design-wise and in general. No one is ever excited to be the one to read instructions out. I thought of a way of changing it.

As the “Pipe Rush” is a game for the youngest, why not make the instruction book an interesting story? Something that kids would love to look at and be excited to read the rules for others?

Having this idea in mind, I abandoned an initial project with a traditional approach (see left). It took two pages to realise how bad it is. Francisco helped me notice the flaws of the design (lack of colour, nothing really exciting about it). So I be gan to design a new version of it.

The format would stay the same (A5 folded in half, which gives us four pages of A6 inc. cover and the back). It is small, however, I do not see the reason for making it bigger. A smaller format would save paper and ink and young people (the target group) would still be able to read it - That

was my reasoning behind this choice.

I got positive feedback about the characters I created, so I decided to show off more of them throughout the whole project. My idea is to use them as storytellers on each page of the book.

Rules book

Pipe Rush

Instruction book

I implemented the changes I talked about on a previous page. I am currently awaiting feedback from my tutors, which will help push the project forward, as I currently feel a bit stuck. I am somehow happy with the cover, however, I feel like something is not right when it comes to the contents. Maybe the usage of colours for the ‘game components’ tiles is too much? Maybe they all should be blue like the big “rules” tile? I will try that and see how it improves.

Rules book

Pipe Rush

After changing colours of the tiles the design got more toned, but it is still colourful thanks to characters and other elements. I think making tiles coloured was too much and now there is a balance. The design is close to be finished now, I am just going to hear the feedback on during our next class and implement any advice I’d find use ful. Flat images on the right and some mockups on a few next pages.

Update 21/11/2022

This is how the cover of the rules book changes when I swap the logos. In my opinion, it gains aesthetically, feels more connected to the background and doesn’t distract as much as the old logo.

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The box

Pipe Rush

Once all elements are ready, a box, which will contain all of these, is needed. Board games box es are very often designed differently than the actual game (not the same style guidelines). This is understandable, as designers very often want to present the game in the best way possible.

I initially thought about 3D renders that could help me achieve a nice, presentable cover design. I started by sketching layouts for the box as well as a back cover. When I knew what I was going for, I started preparing three characters in 3D

The box Pipe Rush

Surprisingly, modelling characters did not take me long. Shapes are not complex, so it was not too hard. I used known blue waves illustration for the background. I placed characters just in the middle of the artwork. Just below that - the main logo. All these created a good-looking composition. The pipe on the bottom of the cover connects it all to the game theme. The slogan “Save water and have fun!” shortly explains what the game is about. Its layout (warped “have fun!”) looks like a smiling face. It was an intentional act, as a smiling face is associated with having fun.

On the right, we can see the first project, which I thought looked right. It took two pieces of feed back and about 24 hours to realise that the dark blue for the logo is too dark. On the next pages, you can observe how the project changes.

During Tuesday’s class with Francisco, he advised me to look into other layout possibilities, I tried moving things around to find a better solution, however, nothing seemed to look as good as my initial idea.

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The box

Pipe Rush

Back of the box

For most of all it is the first time when we design a board game. Essential research was needed to see, what information need to be put on the back of the box. For most of the board games, producers decide to include a mock-up of an actual game for players to see what the game actually look like. Besides that, things like barcodes, and age warn ings are must-haves.

When thinking about the back of the box, as opposed to the front, I have had an older audience in mind too. Parents will most likely be the ones to look at the back and seek information about the game and if it is right for their kids.

On the right side of this page - first try of design ing the back of the box. Bad - I know, there was lot of things missing, the colour choice wasn’t the best and I knew I needed to put more work into it.

The pawns

Pipe Rush

This project is something I really enjoyed through out. Working for first time for something complex like this needed lots of time and self-discipline, but I know it will be rewarding in future. Think ing about how to push the project even further, I remembered Francisco’s advice about pawnsinstead of using normal, traditional pawns - why not use pawns, that are shaped like my characters?

I used 3D models of the characters I designed to be my box cover ilustration, slightly modified them, so it did not take much time to achieve it.

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Evaluation

About this time, two months ago I would never think I will be that happy with the end result. I knew one thing - I wanted to try things I never tried before and was afraid of, explore new pos sibilities and learn new techniques. I wanted to step out of my ‘comfort zone’ and try to be dif ferent this one time. Creating designs that will be more illustrative, not so strict and ‘technical’ was my target for these two months.

Today, two months after I know I have done a lot of work to achieve what I wanted. With great help from my tutor Francisco, hours of meetings and feedback I am satified with the end result. Thank you Francisco and Simon for your ongoing sup port.

My first idea was not the “Pipe Rush!” water-sav ing kids’ game. It was actually “Better World” - a game that would be themed in Rome and would inform about air pollution. I even created a logo for it during summer break.

However, after going through in-depth research of the subject I decided to go with different theme. This shows why the research should be done before all.

What was the most rewarding aspect of these modules?

Trying something I was not familiar with and learning that everything can be achieved. Besides this, I think I got better with generating ideas, thanks to this project.

Which part of the brief did you enjoy the most?

Character design! It was not a plan to create a set of character for this game, but here we go, I think it came out well and I really enjoyed it, as well as rest of the project to be honest.

Which part of the brief did you enjoy the least?

The least enjoyable part of graphic designer work for me is executing the creative process. I rather think about ideas than execute them.

Did the modules allow enough time to carry out all of the necessary work?

It is getting harder compared to Year 1, but yes, I think the time given was enough.

What skills do you think you have developed during this process and what skills do you feel require further development?

I definitely feel more confident about my illustration skills, I think I got better when it comes to setting up grids and recognizing layouts, and my 3D skills got better as I worked in Blender quite a lot when creating the game.

I still, however, think I could do better when designing the rule book for the game, something tells me it does not look good enough, so I think I need to put more work into learning layouts for booklets etc.

In relation to these modules, what was the most informative, influential or inspirational book/ website?

I gained a lot of information and knowledge from “Grids (basics design)” by Gavin Ambrose and Paul Harris. This is the book I was reading after hours of working. I got to know many useful techniques for laying out information, grids, etc.

Bibliography

Aynsley, J. (2004) Pioneers of Modern Graphic Design: A complete history. London: Mitchell Beazley.

Zammit, M.G. (1970) Neville Brody. Available at: http://mariagraziella.blogspot.com/2015/01/nev ille-brody.html (Accessed: October 1, 2022).

Pexels (no date). Available at: https://www.pexels. com/ (Accessed: October 6, 2022).

Rinkesh, R. and Rinkesh, A. (2022) Causes, effects and impressive solutions to air pollution, Conserve Energy Future. Available at: https://www.conserve-energy-future.com/causes-effects-solutions-of-air-pollution.php (Accessed: October 6, 2022).

Interesting facts about board games: Just fun facts (2021) Just Fun Facts Fun and interesting site. Avail able at: https://justfunfacts.com/interesting-factsabout-board-games/ (Accessed: October 6, 2022).

Typography (no date) Wim Crouwel Typography. Available at: http://www.neugraphic.com/wim/typography.html (Accessed: November 14, 2022).

Work – Stefan Sagmeister (no date) Work –. Availa ble at: https://sagmeister.com/ (Accessed: November 14, 2022). Wim Crouwel: Biography, designs and facts

(no date) Famous Graphic Designers. Available at: https://www.famousgraphicdesigners.org/wim-crouwel (Accessed: November 14, 2022).

Strizver, I. (2022) TypeTalk: The typographic expres sions of Stefan Sagmeister, CreativePro Network. Available at: https://creativepro.com/typetalk-the-ty pographic-expressions-of-stefan-sagmeister/ (Ac cessed: December 2, 2022).