C O N T E N T S
D E S I G N
M E D I A
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RESEARCHING DESIGN & MEDIA 1 BREIF 5
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B R E I F
I picked the word ‘fast’ for my urban type illustrations as I felt it described the city. I used my vernacular type that I collected through Brick Lane, Rochester High Street and Oxford Street. My favourite letter was the non-letter form bin liner as I wanted it to be visible as an ‘a’ or ‘o’. However noone was able to detect what the word said due to the bin liner. It was good practice though, as it took me a long time on illustrator to cut it all out: the white, the grey, the dark grey and the black.
My first attempt at the type illustrations was of a 3D paper craft illustration like that of Orange adverts etc. However this turned out tobe a big failure, a whole day worth of sewing into bin liner failure. I would really like to attempt this again when it’s applicable with some better materials. I even made 3D paper traffic cones to resemble the urban theme.
These are my final type illustrations. The one on the right is my favourite using the rule of thirds as a compositional strategy. I like the textures that I used on it. It has a monochrome pallete. The bottom left image uses the rule of symmetry as a composition with a split complimentary colour pallette.The bottom right image uses a golden ratio composite with a complimentary colour pallette.
This is the photo I extracted my colour pallettes from I chose it because of the city skyline and the high amount of colours in the image i.e. reds, yellows, greens, blues. I didn’t want to limit myself to grey, dark grey and light grey.
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For my 3D type I chose to composite the type onto a photograph I took at Brighton. I decided that the words explosive, grey and short were powerful in terms of creating imagination and narrative in contrast to the background. I wasnâ€™t happy with my outcome and would like to choose different words and a different image for a better effect in the near future. 3D Studio Max was very hard to understand at first, however I am beginning to understand the program and itâ€™s potential and I find that very exciting.
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project very well but it’s something I’m really excited about learning and doing as the interaction between image and sound are very important especially within advertising or the
This was my second attempt of the Kinectic Type on After Effects. This time round I incorporated more movement of individual words so they appeared less to be stuck together like a page. The points I liked the most was learning how to use the cameras and lights. I chose the song ‘Losing My Religion’ by ‘R.E.M’ and sung the song into a dictaphone. I also used the dictaphone to collect sounds for sound engineering. I felt that I didn’t sound engineer on this
music video industry. I collected sounds from general life and Jason and the Argonaughts. However, Medusa didn’t pass on the effect I had originally desired. If I was to do this
again I would make use of colour theory more and try to make it reflect the song or lyrics. For Draft Video See Blog.
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Below you can find a page from my sketchbook and my original draft attempt at the animation. Stop frame animation is a process I find very hard to concentrate on and would love to have been able to do someth-
ing perhaps in a video format with animated type instead. The words I chose were: leap, lunge, zip, relax, pause, patter, squeeze and whack. I experimented with fonts such as: Century Gothic Italic, Cooper Std,
This is an excerpt from my sketchbook displaying my ideas and thought processes eventually leading to my mouse trap idea.
For Storyboard See Blog.
Futura, Garamond and Lucida Handwriting. In the end I chose the word â€˜zipâ€™ and the font Century Gothic Italic as I felt it conveyed the word well.
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This is my final 30 second stop frame animation at 12 frames per second. I would like to have more time to be able to create a Rube Goldberg machine stop animation or video. I shot this animation using a hired out Canon, tri-pod and a Macro Lense to enhance the view of the type, the board and itâ€™s parts. I found this the most difficult process and project of all of the breifs.
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The colour red can also be a sign of wealth such as: royal red. The second animation clip shows a poorer class male tearing, tugging and fighting over the red cape on the wealthy 17th century male.
I animated two oil paintings in order to convey a story of wealth. The paintings that I used were from the public domain as they were from the 17th century and not under copyright. This allowed me to use them freely. I animated one painting so that the person within played the piano with someone backing him playing an animated violion. The point of this was that in the 17th century people had oil paintings made of themselves to show off their possessions as a display of their wealth. This was made evident in the Ways of Seeing. I also animated a second painting where I editted the face from the first image onto the second. In this second half of the animation the character has a bright red robe to match the one in the first oil painting.
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I made from home photographing my hands and feet. At the beginning I fled to Covent Garden, Hyde Park and South Bank to try and find the right images to use as patterns. I really enjoyed using rhythmic patterns,
At the start of this pattern breif I thought too hard into finding something good to use as a pattern. In the end my favourite design was one that
brushes and pattern overlays within Photoshop it was something I had never thought of before - pictures inside pictures. I was really pleased with my hands and feet outcome and have really taken this knew knowled-
ge on board and will use it in the future. Especially the knowledge of progressive, regular and flowing rhythms. The photos from my trips I used were of the smurf and the Toy Soldier.
On the left are some of the photos that I took for one of my patterns. I editted these before turning them into brushes, and using a pattern from a photograph within it. I used the same process for each design.
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The toy soldier image was composed of a regular rhythm and a black and white palette.
For the below hands and feet image I used a flowing rhythm to composite my pattern and a two colour palette of navy and hot pink.
For this image I used a progressive rhythm and a custom colour palette. I decided on red, smurf blue and black. 15
My intent was that the red and blue would contrast to make the image eye catching with the progression.
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I felt really engaged by this breif and was really eager to start straight away - despite being completely aga-
nst protests and spray cans. In particular I thought it was because of how ‘hands on’ it was. I had to take every step of designing it by hand, then by computer, then by hand aga-
in and then actually go out and implement my idea. The process of juggling between computer and hand intrests me a lot. I would really like to do a project like this again ‘un-pla-
The above are excerpts from my sketchbook my ideas, planning and thought processes. The ideas that I planned out were mostly of recent headline news in either the BBC, Sky
or the Metro. However I did include knife crime, sweatshops and drugs. My two favourite and strongest ideas at this point were the burning ship of education and Frankie the ass.
Me and Antony visited the Student Protest near Holdborn after class to get some first hand research on the Protest breif. From visiting this I was able to identify that the text - how readable the font is and getting it as big as possible were key to making an effective placard. It should be readable like a road sign and this helped me refine my ideas.
card themed’. The headlines of that week were: Frankie Cocozza, Pregnant artist has a taste for roadkill, the eurozone, knife crime and of course - university fees.
Above and right, were my drafts from the classroom. Frankie the X Factor ass in sharpie and the war on drugs (fail) in red paint. 17
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8 burning ship because of it’s obvious connotations with the Titanic, a film I haven’t seen but everyone else has. The last piece of the puzzle was my use of color. I decided on a primary blue because of it’s links to water and once again trying to evoke the strength of a road sign in reach of meaning. I thought as we were designing a ‘1 colour’ poster it would be silly not to use a primary colour.
I picked my ‘S.S OUR FUTURE’/’RMS OUT FUTURE’ as my final idea as I thought that it contained the strongest imagery that people would be able to recognise and relate to. I tried to composite the design in a way that the text was the most visible thing on the page - I decided the way to solve this was to design on landscape so that the font could be at it’s largest on the page and so would be able to convey the message further. I used the boat and iceberg imagery instead of the origin-
The above is a photo of me drawing the design by hand from the computer. This was very challenging but I enjoyed that side of it.
I quickly regretted the small windows in the design when I was cutting out my stencil with my scalpel. Though I was impressed with the overall aesthetic of the finished piece and the effectiveness of the £1 spray paint.
The design came out even better than I expected. After I mounted the design onto card and cut out a pickett fence handle. Even if I wasn’t exactly getting a reception outside London Met - don’t let the darkness fool you this was taken at around 5pm. I decided to take my protest to London Met where education was hit
hard by the Universities foul play in collecting grants for student attendance for students that were’nt attending. Then rightly receiving the wrath of government fines. Supposedly it was meant to be bankrupt when I first applied for University a year and a bit ago.
Illustrator design 1.
Illustrator design 2.
Final Illustrator design 3.
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keep true to the John Lewis advert as I was aware if it wasn’t simmilar enough then I wouldn’t be able to affectively skew it’s meaning. I shot the video twice at my home in Kent
I enjoyed this breif a great deal, and I decided rather than to edit an existing advert with clips of another I would attempt to re-shoot the whole thing. Below are frames of my final version, here I tried to add more of a concept of time. The concept of time in my original attempt wasn’t as strong as the original John Lewis advert. In order to add more time reference in footage I had to distract from following the John Lewis advert frame by frame that I tried to accomplish first time round. I tried hard to
where my thirteen year old brother was kind enough to ‘act’ for me. The second time the Christmas decorations were actually up so I could include them in the video. I altered the
meaning of the advert by throwing away the original adverts idea of being ‘thoughtful’ and replaced the ending with a hefty fine of some what £299, 6, 1400.... See blog for draft.
I used Premire Pro to edit the footage and mostly used ‘Levels’ and ‘Gamma Correction’ to adjust the look of it. I tried to match the look of the video to match the original and it was hard especially as I wasn’t able to hire out lighting from either Epsom or Rochester. I also had to edit the original song to fit as the original and advert versions didn’t match up.
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This project I am proud of because of the rich amount of research I collected and conducted. I was also looking forward to using a camera again
and better than before with the John Lewis re-interpretation. From Project Gutenberg I decided to make a title sequence for Frankenstein by Mary Shelley. I was looking at Despotica book covers, Digital Kitchen (True Blood, Dexter), Saul Bass, Goldfinger and The Shining. I researched the themes, symbols, motifs and setting of the book. I conducted a survey via surveymonkey.com where I received 5 responses on what imagery people associated with the themes and motifs of the Frankenstein novel. See Blog. I took this into
account when I planned out my idea for the title sequence. I used a projector to project stock images onto my friend Cam who agreed to be Frankenstein. I was dissapointed that I spent so long in the studio only to end up with 60 seconds worth of footage. However I am very pleased with the outcome and use Levels and Gamma Correction as well as compositing footage side by side. I chose the song ‘Bad As Me’ by ‘Tom Waits’ and the font Century Gothic Bold.
effects of moving image on memory, suspense, anticipation, revelation and imagination. I set myself up for a bit of a loss. See infographics. Though I did make one interesting discovery and that was that when people are asked questions to do with memory about a moving image, they almost always refer to a memory of moving image rather than a real memory. This is opposed to static images where the memory is taken from the real world.
In Breif 5, I compared the Jet music video ‘What you’ve done’ to my 3D type image. I wanted to compare the
For this research breif I decided to research into production values. I decided to survey, as I couldn’t see how any other medium would better represent my research. I asked a series of ten questions regarding production values in response to the image of soap photography, the image by noma bar, my wallpaper image and a work by Maholy-Nagy. I was able to interview my creative director, a psychology student, a music student, architecture and GDNM.
This gave me a broad spectrum of understanding of programs, ability, skill and pricing. If you suggest there was software involved then people will assume there is. The conclusion of my research is that people would prefer to buy something regardless of the time spent on it or whether they could re-produce it themselves. According to my survey research designers should appear to do more but actually do less and that is what people favour.
Published on Dec 16, 2011