iD efficio Magazine

iD efficio

Silvia Bosoiu 2019

I would like to give special thanks to Carl Burden and Sebastian Aasland who were willing to be interviewed and featured in this magazine.

I would also like the following people to know that I am very thankful they’ve been by my side through this journey: Nicoleta Bosoiu Silviu Bosoiu Brindusa Bosoiu Andrei Octavian Vatavu Ella Vatavu Gabriel Cristian Vatavu Sebastian Aasland Bianca Parvu Edward Johnson Cristina Chetran Mike Crompton Ioana Constatin Flavius Andrei Pricop Deborah Wilson Paul Wilson Kerry Wort Thank you all for everything! (no particular order, I love you all equally

)

Like the conductor of a symphony orchestra, the designer of a publication, be it newspaper, magazine or book, is responsible for pulling together all the parts of a complex communal exercise.

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Watercolour A watercolour affair

Carl Burden Interview The limitless variety of media means that no two days are the same. I learn something new every day without fail.

Sebastian Aasland Interview Try out new things and pursue what I call “happy accidents”.

Propaganda Posters A mode of communication

A watercolour affair

Watercolour Theory N

ot knowing how to mix the colour you need...

When I first started painting I really didn’t understand how to mix watercolours and get exactly the right hue that I needed. I would simply rely on intuition, throw a few pigments together and hope for the best.

Eventually, I started to get interested in colour theory and watercolour mixing recipes. I did experiments,

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and I painted colour charts to test the mixing range of my palette. And little by little this helped me develop a better understanding of how to use my paint.

Are you sick and tired of trying to mix the same colour you made yesterday, but you just can’t remember which pigments you used?

Well, keep reading and hopefully all will become clear.

Primary, Secondary and Tertiary The colour wheel is an incredibly useful tool for watercolour artists. It shows us what colour can be produced by mixing adjacent colours with each other. Traditional colour wheels are made up of three categories of colors: primary, secondary and tertiary.

Secondary Colours

Primary Colours

R + B = purple (P)

The primary colours are the starting point for any colour wheel.

Next we have secondary colours. Most of us are already familiar with these simple mixing formulas: Y + R = orange (O)

B + Y = green (G)

Tertiary Colours

yellow (Y) red (R) blue (B) Primary colours are the foundation of colour mixing because these three colour pigments cannot be mixed by the combination of any other colours.

The final category is tertiary colours. These are achieved by mixing the primary and secondary colours which are adjacent to each other on the colour wheel: Y + O = yellow-orange R + O = red-orange

B + G = blue-green Y + G= yellow-green (note: traditionally the naming convention for tertiary colours always begins with the primary colour, then the secondary: red-orange, yellow-green, etc.)

The colour appearance of paint relies on the pigments they contain.

There are lots of different yellows, reds, blues, greens or purples made from different single pigments.

You may already have a large collection to choose from.

But the pigments used in paints don’t always produce a pure colour appearance. Most of the colours that you have in your collection have a colour bias. Most artists refer to paint hues as warm or cool depending on their colour bias.

R + P = red-purple B + P = blue-purple

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Watercolour Theory Cool & Warm colours Warm colours are those that are situated on one side of the colour wheel and include yellow, orange, and red.

Cool colours are on the opposite side of the colour wheel and include purple, blue, and green.

Cool & Warm | The wheel Any colour can have a warm or cool bias.

Yes, that’s right ! Any colour. For example you can have warm reds and cool reds, warm blues and cool blues, etc.

This is where a lot of people get confused. How do you identify whether a colour is warm or cool?

Colour wheels can help us with this. This colour wheel is based on two sets of primary colours. There’s a warm and a cool version of each primary colour.

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So we have a warm and a cool yellow, a warm and a cool red, etc. I have also painted the secondary colour mixes in between each set of primary colours.

The position of a colour represents whether it is warm or cool. For example, look at the warm red. You have to ask yourself: “Does this colour tend more towards orange/yellow or does it tend towards purple/blue?”. Depending on which side of the colour wheel it inclines, this tells us whether it is warm or cool.

The warm red has more of a yellow/orange bias.

Yellow and orange are on the warm side of the colour wheel, so this particular hue is “warm”.

Mixing pure saturated secondary colours Even though colour theory tells us that red + blue = purple, not every red mixed with every blue makes a pure purple.

sometimes produce surprising results, depending on the colour bias of the paints you choose.

As mentioned above, your paints can have a warm or cool bias. Let’s say you want to mix a pure green colour. The simple mixing recipe yellow + blue can

So, do you know how to mix a saturated secondary colour such as a pure saturated green or saturated purple?

Take another look at the colour wheel we used earlier.

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Watercolour Theory Mixing pure saturated secondary colours This is what could be labeled as a “pure saturated” color wheel.

The aim of this chart is to show you how to mix pure saturated secondary colours.

To make it you need both a warm and cool version of each primary colour, so six primaries in total.

As you can see above, the secondary colours, orange, purple, and green are bright and saturated.

To mix them you need to use a specific combination of two primary colours: > To mix a very saturated orange you use the primary colours which are closest to orange: warm yellow + warm red

> To mix a very saturated purple you use those primary colours which are closest to purple: cool red + warm blue

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> To mix a very saturated green you use primary colours which are closest to green: cool blue + cool yellow

You may be wondering what happens if you break this formula and mix different primary colours together. For example if you mix a cool blue and a warm yellow you get the following mixture:

Warm Yellow

Cool Blue

Olive Green

As you can see, this produces an attractive olive green appearance, but it's nothing like the saturated green mixture.

This is the reason why the foundation of most artists watercolour palettes is built on a selection of primary colours.

Mixing neutralised hues using compound colours A vast range of mixing can be achieved with a small number of paints.

You now know how to mix pure saturated secondary colours by combining the two primary pigments closest to the desired secondary colour on the colour wheel.

But often we need to reproduce a desaturated or muted version of a colour like a muted green or desaturated orange.

You can obtain neutral colours by mixing combinations of warm and cool primary colours which are located further away from the desired colour on the colour wheel. Mixing in this way produces compound colours. These are colours which include a

trace of all three primary colours.

Let’s take the example of purple.

You can create a muted compound purple by using the primaries furthest from purple on the color wheel.

The same is true for the other secondary colours. A muted compound orange can be achieved by mixing yellows and reds further away from orange on the colour wheel.

This is often referred to as neutralising a colour.

Neutralising means reducing the intensity or chroma of a colour.

For instance, mixing warm red + cool blue produces a desaturated neutralized purple:

Warm Red

Cool Blue

Neutralised Purple

Mixing neutralised hues using complemetary colours Using the same six primary colours you can push your colour mixing further by implementing complementary colour mixing.

This method allows you to neutralize and desaturate

your colours to produce a vast range of grays and earth tones.

A complementary colour is any colour on the opposite side of the colour wheel.

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Watercolour Theory Mixing neutralised hues using complemetary colours The complement of yellow is purple.

When you mix any colour with its complementary colour you get a neutralized gray or earth hue.

As a quick rule of thumb, try to remember the following complementary combinations:

Purple

Yellow

Orange

Blue

Using a limited colour palette As you probably now realise, the primary colours yellow, red, and blue, are the backbone of any watercolour palette.

Primary paint colours are an indispensable part of your palette because you cannot mix primaries from

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any other paint colours.

Almost every possible colour mixture can be obtained using just a few primary colour paints.

If you’re starting out with watercolours, you want to become a better artist, and you have a small budget,

you could begin with a limited palette of just six colours.

Orange Painting with a limited palette also has the advantage of creating colour harmony in your work. What’s more, a limited palette is also good practise for you colour mixing confidence.

You have to work a little bit harder to mix a specific colour but you will learn a great deal about colour along the way.

This list provides a good guide to the mixing range of secondary colours you can expect from six warm and cool primary pigments.

Cool Y

Warm R

Cool Y

Cool R

Warm Y

Warm R

Warm Y

Cool R

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Purple

Green

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Warm R

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Warm R

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DO NOT READ ...or bend the rules. Nobody watches you.

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Tone is the relative lightness or darkness of a colour.

With watercolours, the brightest most saturated colours are the pure pigments that come straight from the tubes. You cannot make these colours any brighter.

This kind of saturated colour is said to have a strong tonal value.

If you want to “tone down” your colours to make them lighter, it's simply a matter of adding more water to dilute the mixture and thereby lighten the tones.

Because watercolour paint is a transparent medium the lightness of a colour comes from the underlying white paper.

It’s possible that you have a tube of white or black paint in your watercolour collection.

You may be tempted to use one of these to darken or lighten your colours. But black or white paint will deaden your colours.

In watercolour painting you control the level of tone by changing the ratio of paint to water.

Correct tone is one of the essential components to successful painting. If the relative tones in your scene are true, you can produce a believable sense of space, light and form.

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Favourite artists

& their work

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/drawingwiffwaffles

@drawingwiffwaffles

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/kelogsloops 13 id efďŹ cio 001

@kelogsloops

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@maria_morjane

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I try and always experiment with my workflow. Trying out new things and pursuing what I call “happy accidents”.

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I try and always experiment with my workflow. Trying out new things and pursuing what I call “happy accidents”.

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sebastian.aasland@gmail.com

@raptures.design id efďŹ cio 001 22

sebastian.aasland@gmail.com 23 id efďŹ cio 001

@raptures.design

sebastian.aasland@gmail.com

@raptures.design id efďŹ cio 001 24

sebastian.aasland@gmail.com 25 id efďŹ cio 001

@raptures.design

sebastian.aasland@gmail.com

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Carl Burden - Graphic/Web Designer

The limitless variety of media means that no two days are the same. I learn something new every day without fail�.

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paired with any style of photography, simple iconography and clean sans-serif typefaces.

For a trend to take off, it certainly helps if it’s easy to replicate and flat design is a pretty straightforward style to ape.

Having said this, I think that the quality of the work being produced across the board suffers from this trend being so widely adopted.

Flat design done well simplifies your design and makes it easier to understand, do it badly and you no longer know where to look on the page. In the digital space, over-simplification makes for a terrible user experience.

way to communicate your message to your audience then you should absolutely use it.

I personally like the use of deconstructivism in graphic design given its use in the right context.

The limitless variety of media means that no two days are the same. I learn something new every day without fail”.

If it is not clear how to interact with something (be that with your eyes or your fingers) then you have immediately failed your job as a designer.

Lastly, what is your opinion about deconstructivism applied to graphic design?

You can’t deny that deconstructivism at first glance could easily be confused with an infant school newspaper cuttings project, but once you take a deeper look at what is being presented, you begin to understand the stories being told using this design style and I like that.

For me, when you decide how something should look then it’s all about using the right style for the right reason. If deconstructivism is the best

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carl@summit-digital.co.uk 31 id efďŹ cio 001

www.carlburden.co.uk

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WORK FROM PEOPLE FOR PEOPLE 08 august 2019

Featured Artists

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INTERNATIONAL SYMPOSIUM: MUSIC, SPIRITUALITY, WELLBEING AND THEOLOGY 14 -15 JUNE 20 KING ALFRED QUARTER, UNIVERSITY OF WINCHESTER

monicaivan25@gmail.com 41 id efďŹ cio 001

/monicaivanart

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monicaivan25@gmail.com 43 id efďŹ cio 001

/monicaivanart

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carl@summit-digital.co.uk 45 id efďŹ cio 001

www.carlburden.co.uk

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monicaivan25@gmail.com 47 id efďŹ cio 001

/monicaivanart

/TipTut mtfryer@live.co.uk

@TipTutZone

@tiptutzone

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/TipTut mtfryer@live.co.uk 49 id efďŹ cio 001

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Propaganda Posters W A mode of communication

ar Propaganda Posters are well known. But at its core, it is a mode of communication aimed at influencing the attitude of a community toward some cause or position, and that doesn’t have to be a bad thing.

Although propaganda is often used to manipulate human emotions by displaying facts selectively, it can also be very effective at conveying messages and hence can be used in web design, too.

Notice that propaganda uses loaded messages to change the attitude toward the subject in the target audience. When applied to web design, you may experiment with techniques used in propaganda posters and use them creatively to achieve a unique and memorable design.

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DIMITRI MOOR RUSSIA, 1917–1921 Dimitri Moor (or Dmitry Stakhievich Orlov) changed the face of graphic design in Soviet Russia back in 1918. His work dominated both the Bolshevik Era (1917–1921) and the New Economic Policy (1921–1927). The main theme of Moor’s work is the stark contrast between the oppressive evil and the heroic allies. A lot of pressure was put on Russian workers to rise up against imperialism.

solid colors for the capitalists. Red was used for socialist elements such as flags and workers’ shirts.

EL LISSITZKY RUSSIA, 1920

A lot of Moor’s artwork was restricted to black and red. Black was generally used for the main part of the poster, and all of the

El Lissitzky spent his whole career absorbed by the belief that the artist could be an agent for change and good, and his work in a lot of respects shows this. He himself was a huge agent of change in the artistic movements of the time. He was one of the fathers of suprematism, along with Kazimir Malevich; and along with many of his peers, he changed the look of typography, exhibition design, photo

montage and book cover design. Most of the modern techniques we see today and that appear in film and modern Kenetic typography are the product of Lissitzky’s work.

One of his most famous pieces, shown below, really embodies Lissitzky’s work. It is so avant garde that even a lay person could recognise the style.

The abstract geometric shapes and clear colour pallete scream of modernist art, and yet the poster has a real message.

It describes the Russian revolution that took place in 1917. The white circle represents the royalists from the old regime, and the red triangle represents the communists moving in and changing opinion. It has been described as a stylised battle plan for communist victory.

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STRAKHOV BRASLAVSKIJ RUSSIA, 1926 Braslavskij was known for his posters that promoted the emancipation of women. During this time in Russia, the idea of gender equality was growing. Emancipated women were seen to be supporters of the communist agenda, and so they needed to be freed from their so-called duties as wives and mothers.

The emancipation of women and the socialist movement went pretty much hand in hand. In his poster, we see almost a confluence of the sexes.

The woman is drawn somewhat androgynously, wearing masculine clothing that hides her female figure, and a cold hard stare that hides her emotions. Behind her is her place of work, showing that women can do the same hard labour as men, and she carries the red flag of the communist movement.

The curious thing is that the image shows not so much the emancipation of

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women as it does a way to turn women into men, dressing them in men’s clothing, showing them as working in factories, and hiding their femininity. It seems the real reason to emancipate women was simply to increase the workforce and thus strengthen the communist movement.

HANS SCHWEITZER GERMANY, 1930s In Germany in the 1930s, propaganda was in full swing and being used by Hitler’s advisers to call the German people to arms and spread lies about the Jews. One of the most famous artists behind Nazi propaganda was Hans Schweitzer, known as

“Mjolnir.” This poster by Hans Schweitzer shows the typical pro-Nazi theme of the German army’s strength, depicting an S.A. man standing next to a solider. The text reads, “The guarantee of German military strength!”

This next poster by Mjolnir, titled “Our Last Hope: Hitler” was used in the presidential elections of 1932, when Germany was suffering through its great depression. Nazi propagandists targeted the German people who were unemployed and living on the breadline, and they suggested Hitler as their way out, their saviour.

The propaganda then used the scapegoat of the Jews, blaming them for all of Germany’s problems and the war. Many posters were entitled, “He is guilty for the war.” This was the key message of Hitler to start his campaign of terror and for the ethnic cleansing that ensued. Almost the entire

campaign from beginning to end was driven by the artist Mjolnir. Just as the media molds public opinion today, Mjolnir most definitely molded the opinion of the German people through his designs. There is no doubts about the immorality and emotional deception of these designs.

figures, marching from the factories to fight the war.

They are surrounded by the tiny white airplanes of the royalists, which appear to have no effect on them at all and in fact seem to be flying through the figures.

to work closely with the Nazi command during World War II.

PHILLIP ZEC ENGLAND, 1930 VALENTINA KULAGINA RUSSIA, 1930 Kulagina was one of the few female poster artists to emerge from the 20th century. Her art was heavily influenced by suprematism, and you can see the similarity between her work and that of El Lissitzky. This poster, called “To Defend USSR” was created by Kulagina in 1930. It takes a cubist perspective in its multi-dimensional shapes, and it shows the Red army as huge, almost robotic

Phillip Zec was probably best known for his depictions of Nazis as snakes and vultures. At the time, Nazis were usually drawn as bumbling clowns or buffoons. But Zec brought out the more sinister side of the German regime in his drawings. Hitler reportedly hated Zec so much that he added him to his black list and ordered his arrest following the invasion of Britain. He blamed Zec’s Jewish ancestry for his extreme ideas.

The ugly toad is former Prime Minister of France Pierre Laval, who decided

PABLO PICASSO SPAIN, 1937 Picasso painted Guernica in response to the bombing of the town by Germany and Italy, which were following orders from Spanish Nationalist forces, on 26 April 1937. It must be said that it was commissioned to Picasso long before the bombing of the town and was supposed to be a classic painting first. After the bombings, Picasso changed his drawing to respond to the recent bombing.

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The giant mural shows the tragedy of war, using innocents civilians as the focal point. It became a huge symbol of anti-war, and upon completion it was exhibited worldwide to spread the message.

The piece also educated other countries about the horror of the Spanish Civil War, which until then most people had never heard of.

Pablo Picasso, 1937

the crumbling world around them.

NORMAN ROCKWELL US, 1939 Norman Rockwell is probably one of the best known of the propoganda movement. He admitted that he was just a propaganda stooge for the Saturday Evening Post.

The newspaper paid many artists and illustrators to whitewash American news with patriotism and propaganda for around 50 years.

His work has often been dismissed as idealistic or sentimental. His depiction of American life included young boys running away from a “No swimming” sign, and happy-go-lucky US citizens going about their business unaware of

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Rockwell’s famous Rosie the Riveter poster, representing the American women who worked in the munitions and war supplies factories during World War II. This was a call to arms for the women of America to become strong capable females and support the war effort.

J. Howard Miller’s “We Can Do It!” commonly mistaken to depict Rosie the Riveter, conveyed the same message:

More Recently Brian Moore is a modern propaganda artist who exhibits his work on his blog. He lives in Brooklyn and is probably best known for his promotion of net neutrality and his work during the 2009 Iranian election protests.

The posters are based on old WWII propaganda posters but updated in their message to match today’s technology and web culture.

This poster was a comment on the 2009 Iran election protests. He borrowed the old “loose lips” refrain and replaced it with “tweets”.

Someone talked

BRIAN MOORE US, 2009

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