Sergio Pina Creative Process Pop Art Book Cover
Pop Art Book Cover - Thumbnails -
Thumbnail No Material Technique Spatial
Thumbnail No Material Technique Spatial
1 Paper, pencil. Pencil on paper, fast sketch Size, location, hierarchy
5 Paper, pencil. Pencil on paper, fast sketch Size, location, hierarchy
Thumbnail No Material Technique Spatial
Thumbnail No Material Technique Spatial
2 Paper, pencil. Pencil on paper, fast sketch Size, location, hierarchy
6 Paper, pencil. Pencil on paper, fast sketch Size, location, hierarchy
Thumbnail No Material Technique Spatial
Thumbnail No Material Technique Spatial
3 Paper, pencil. Pencil on paper, fast sketch Size, location, hierarchy
7 Paper, pencil. Pencil on paper, fast sketch Size, location, hierarchy
Thumbnail No Material Technique Spatial
Thumbnail No Material Technique Spatial
4 Paper, pencil. Pencil on paper, fast sketch Size, location, hierarchy
8 Paper, pencil. Pencil on paper, fast sketch Size, location, hierarchy
Thumbnail No Material Technique Spatial
9 Paper, pencil. Pencil on paper, fast sketch Size, location, hierarchy
Thumbnail No Material Technique Spatial
10 Paper, pencil. Pencil on paper, fast sketch Size, location, hierarchy
Thumbnail No Material Technique Spatial
11 Paper, pencil. Pencil on paper, fast sketch Size, location, hierarchy
Thumbnails Stage
Thumbnail No Material Technique Spatial
13 Paper, pencil. Pencil on paper, fast sketch Size, location, hierarchy
Thumbnail No Material Technique Spatial
14 Paper, pencil. Pencil on paper, fast sketch Size, location, hierarchy
Thumbnail No Material Technique Spatial
12 Paper, pencil. Pencil on paper, fast sketch Size, location, hierarchy
In this stage we want to whip out some fast concepts that express the ideas and arrangements of the brief and have an initial sense of the layout, composition and structure of the idea we are looking to develop. I believe these thumbnails show an understanding of the brief and relate to it showing a clear intent of the idea that is being created and the message which is intended to convey. For the next stage I will be pursuing the ideas that better relate to the brief and “Pop Art”, refining them and cutting out the ones that have a less clear direction or don´t work so well. In terms of presenting these thumbnails to a client in this digital age I can simply scan or photograph them and send them via email, in this case there are no limitations on techniques, tools or materials since the thumbnails are all in pencil. If you want to get a sense of what the client feels or reacts to them they can be delivered and shown in person quiet easily in the form of hand drawn paper.
- Roughs -
Rough from Thumbnail No Material Technique
2 Paper, graphite. Graphite on paper, light and dark shades, outlines, manual
Colour
Mono work
Spatial
Size, location, hierarchy, repetition, balance, contrast, white space.
Rough from Thumbnail No Material Technique
5 Paper, graphite. Graphite on paper, light and dark shades, overlaps, transparency, manual
Colour
Mono work
Spatial
Size, location, hierarchy, repetition, balance, contrast, white space.
Rough from Thumbnail No Material Technique
6 Paper, ink, sharpie, colour pencil. Mixed media on paper, overlaps, colour blend with pencil, manual
Rough from Thumbnail No Material Technique
8 Paper, ink, sharpie, markers. Mixed media on paper, hand drawn, outlines
Colour
Bold and bright colours, overlapping colours, contrasting colours
Colour
Bold colours, contrasting colours
Spatial
Size, location, hierarchy, repetition, balance, contrast, white space.
Spatial
Size, location, hierarchy, repetition, balance, contrast, white space.
Rough from Thumbnail No Material Technique
13 Paper, graphite. Graphite on paper, light and dark shades, outlines, manual
Rough from Thumbnail No Material Technique
7 Paper, graphite, sharpie. Mixed media on paper, light and dark shades, outlines, dots, manual
Colour
Mono work
Colour
Mono work
Spatial
Size, location, hierarchy, repetition, balance, contrast, white space.
Spatial
Size, location, hierarchy, repetition, balance, contrast, white space.
Roughs Stage
In this stage we will create a more refined visual and the intent of this stage is to get a different and fresh feel for the best ideas and concepts that work better within the brief and how they can be best expressed, going through the creation, selection and manipulation of type and visuals in a layout. This stage can be used to explore possible creative approaches like collage, photomontage, printmaking, drawing, etc. The design concept it is not finished at this point but is useful to select the best ideas and approaches. These roughs show the intended direction and relate to the brief and theme of “Pop Art�. In the next stage, the concepts that the client likes best and selects will be further refined in to a more detailed design. One has to consider the techniques, tools and materials used in this stage for presenting to the client, in this case it can be done digitally even though the client gets a different feel seeing the roughs in person, and again, in this case there aren’t many limitations.
- Comprehensives -
Comprehensive from Rough No Material Technique
7 Paper, ink, sharpie, water colour pencils, water, brush. Mixed media on paper, bold outlines, water colour painting, manual.
Colour
Water colours contrasting with black bold outlines
Spatial
Size, location, hierarchy, repetition, balance, contrast, white space.
Comprehensive from Rough No Material Technique
8 Paper, ink, sharpie, graphite. Mixed media on paper, outlines, light and dark shades, manual.
Colour
Mono work
Spatial
Size, location, hierarchy, repetition, balance, contrast, white space.
Comprehensive from Rough No Material Technique
6 Illustrator, Photoshop, printer, wacom tablet, paper, scanner, scissors Collage, inkjet print, cutouts, collage, overlaps, transparency, digital.
Colour
Bold and bright colours, overlapping colours, contrasting colours
Spatial
Size, location, hierarchy, repetition, balance, contrast, white space.
Comprehensives Stage
In this stage we will create fully detailed renderings of the design concept that are thoughtfully visualised and composed that have been selected by the client. They usually look like a printed or finished piece. When the client sees the comp, they will see a very close representation of how the piece will look when produced and very often the comp is the visual agreement of the solution between the designer and the client and works as a guide for the printer. I believe these comps clearly show the brief that guided their creation. Relating to their presentation to the client one has to consider that the choice of paper stock can change the appearance of the work and that digital representations may be different from those on paper.
Process
In creating the final render for the cover a few techniques and mediums were used, the speech bubble was initial hand drawn and later finished using a Wacom tablet. The “hero” image was created using overlapping and transparent colours initially in Illustrator, then printed using a ink-jet printer so the printed colours would create a texture on paper using the imperfections of the printer and inks to create something unique, the image was scanned, using Photoshop to cut out the shape and the black outlines were drawn on top digitally with a Wacom tablet and digitally collaging the hero in Illustrator. I believe the type clearly screams “Pop Art”, the background in a comic book strip style, the bold and saturated colours, the benday dots, everything ties in and relates to Pop Art, even the “hero” (breaking the fourth wall is a thing in comics) is thinking that the cover in which he stars ties Pop Art together with Contemporary Graphic Design in a clear visual representation of the essence of Pop Art. As a professional practice tool the process of drawing and visual representation is invaluable for it enhances and develops the skills and knowledge of a graphic designer effectively creating a skillset upon which to build a passion and practice, a body of work to be presented as a professional portfolio or showcase a personal journey of artistic development. It teaches how to be adaptive to the use and rapid change of digital imaging tools and applications as well as looking outside the field of graphic design and expanding into other creative areas and a whole range of other skills that can also be useful in your personal life. The value of drawing is tightly associated with the success of a graphic designers in assisting him develop a high level of skills and knowledge in key areas such as the use of software, colour and typography for example, generating original ideas they must be willing to learn continuously throughout their careers and experiment with all the tools available to them, refining their practice. Lifelong learning and experimentation will keep designers up to date with techniques and trends throughout the course of professional life. The role of experimentation cannot be underestimated and goes hand-in-hand with the ability to receive feedback and critically evaluate your own work. For this brief the choice of tool, techniques and materials used were pen, paper, ink, water colour, printer, scanner, markers, sharpie, pencil, Wacom tablet, Photoshop, Illustrator, digital collage, overlays, outlines and various other. The affects they had in presenting this work were mainly, after being hand made were digitized as to be easily presented to the client in a digital format, in this case there were no issues in using hand made elements for the final result was a flat piece of work.