FMP Research Book by alanageorgiou

FMP Research Book Alana Georgiou

DISCUSSING THE IMPACT OF AUGMENTED REALITY ON L’ORÉAL’S ADVERTISING

CONTENTS Designs with this icon can be scanned with the Artivive app.

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01 Introduction

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The Brief Industry Project Aims Project Proposal Initial Inspiration

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Field of Study

Editorial History Contemporary Design Typography & Grid Systems Further Inspiration

Self Publishing Print vs Digital Augmented Reality

Case Studies TOFHWOTI Whitechapel Gallery Zeka Design Colour Memory The Aesthetics of Reading 24/7 Exhibition Madame Tussauds Weltformat App

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Physical Interfaces Editorial Innovation Thinking After Effects Flock & Foil

03 Area of Study

Workshops

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Conclusion Calendar Planning Rationale Critical Reflection Bibliography Appendices

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INTRO DUC TION 01 003

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The Brief

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Industry

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Project Aims

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Project Proposal

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Initial Inspiration

I D T

Introduction

The Brief Your Final Major Project will benefit from your increased understanding of theoretical issues - how these inform and contextualise your practical work, your research skills and your creative/strategic design abilities. Your Final Major Project may take a practical or theoretical direction and you will need to demonstrate the professional level of your organisational skills, reflect on your practice and think conceptually. Your choice of Final Major Project will be influenced by your career aspirations (and the expectations of industry) or your own plans for further study (e.g. MA). You will discuss and negotiate your area of research with your tutor(s); subject to approval, you will produce a â&#x20AC;&#x2DC;Project Proposalâ&#x20AC;&#x2122; that defines the research area and sets clear objectives. The analysis of your research work and the subsequent design brief or case study will be presented to staff and students as a formal verbal and visual presentation. You will be assessed on the research methods employed, the depth of your research findings, the quality of your analysis/ design strategy and the professional level of visual and verbal presentation techniques employed.

Deliverables Part A Research Book (Print) Design Journal (Invision) Part B Research Book (Amended) Design Journal (Cont) Final Outcome(s)

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â&#x20AC;&#x153;The Final Major Project gives you the opportunity to demonstrate the fluency of your design and communication skills, and to examine a subject or theme in depth through a self determined and challenging assignment.â&#x20AC;? 006

Introduction

Industry So far throughout my degree, my projects have had a focus on editorial and layout design, whether this is print or digital. I have had a keen interest in experimenting with typography, image and colour to communicate messages since being introduced to Editorial Design in my first year. This curiosity carried on through my second year, where I worked on my skills and applied my interest in becoming an Editorial Designer through my selfbranding project. In my Final Major Project, I hope to continue to learn about different ways of creating editorial designs while applying the skills Iâ&#x20AC;&#x2122;ve already learnt during the degree and when working on editorial projects in the industry. My dissertation focuses on the impact of Augmented Reality on the way brands are marketing their products. For my FMP, I think it would be interesting to see the impact Augmented Reality could have on print design, combining the concepts explored in my essay with my interest in Editorial Design. Throughout my dissertation, my research has showed me that in order to keep relevant, it is necessary for brands to utilize interactivity and the digital space. I am interested in exploring these ideas through a print medium as there seems to be a niche for print design that has digital elements in comparison to either editorial print or digital editorial.

â&#x20AC;&#x153;I think it would be interesting to see the impact Augmented Reality could have on print designâ&#x20AC;?

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Project Aims Learning from previous projects, the main aim for my FMP is to create a professional outcome that fits in with industry standard work. I want to be able to demonstrate my skills so far in Editorial Design while pushing myself further by using digital software to add an element of interactivity to the outcome. I’d like to be able to experiment more with my designs this project to push myself outside of my comfort zone away from the simple layouts I’ve used for previous projects. This way, I aim to improve my confidence in my Editorial Design skills which will help me produce a higher standard of work in the design industry. As with my dissertation, I want research to guide the main structure for my design process. My essay focused on the impact of new technology on a brand’s marketing. However, I want my project to focus more on the impact technology is having on print design. For this I want to delve deeper into the idea of bringing the digital space to a physical editorial design to gain an understanding on how this changes the way we interact with traditional Editorial Design.

Aims - Produce outcome to a high standard - Experiment with layout designs - Use research to guide design process

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Project Proposal Objectives The aim of this project is to create an industry standard outcome that demonstrates the concept of using interactivity in Editorial Design to engage an audience. It will develop on the ideas explored through my dissertation, however through a different area of Graphic Design. The personal aims I will be focusing on throughout this project include layout experimentation, research and refining the final outcome. Audience The target audience for this project will be designers or researchers with an appreciation of layout and Editorial Design or an interest in the way new technology can be utilized in the creative industry. The content of the outcome will appeal more to those with an interest in the research behind Augmented Reality in the industry. However, the design and interactivity of the outcome will target younger designers with an understanding of Editorial Design and interactive technology. Context The outcome of this project will give context on how traditional Editorial Design can evolve with the digital space, to communicate to an audience. The content of the outcome will show how Augmented Reality has impacted a brand’s advertising with specific reference to how L’Oréal has branded their “Rogue Signature Liquid Lipstick” using an AR platform. The final outcome will take the main ideas from this research and demonstrate how AR can impact audiences through a different area of design, putting the focus on Print Design. Outcome The final outcome of this project will be a self-published print design that explores the dissertation: “Discussing the Impact of Augmented Reality on L'Oréal’s Advertising”. 009

Introduction

“The final outcome of this project will be a self-published print design that explores the dissertation: Discussing the Impact of Augmented Reality on L'Oréal’s Advertising.”

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Initial Inspiration Posterzine Posterzine is a project created by People of Print that collates interviews and insights from artists and professionals in the design industry, incorporating them into an A1 poster that folds into a magazine. I felt this was a good place to start researching as I want to create a poster that incorporates the amount of text these Posterzineâ&#x20AC;&#x2122;s do. The variety of issues gave me different design inspiration on how I can create editorial layouts with a similar amount of text and image. It engaged me to start thinking about which poster layouts could work with my project aims and fit alongside the themes of my dissertation.

â&#x20AC;&#x2DC;Posterzine also represents a refreshing departure from the traditional publishing models; it is proof that print is very much alive and indeed thriving.â&#x20AC;&#x2122; (Marcroy, 2015)

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Fig 3. Posterzine 3 (2015)

Fig 2. Posterzine 2 (2015)

Introduction

Fig 1. Posterzine 1 (2015)

Introduction

Fig 4. Ritual Book Series 1 (s.d) Fig 5. Ritual Book Series 2 (s.d)

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The Ritual Book Series was one of the main editorial designs that caught my eye when looking through contemporary layouts for inspiration. I was drawn to the compositions that utilized sans serif typography by moving it off the page. I interpreted this as type that was created to be its own design rather than only being used to communicate information. This became my main source of inspiration when experimenting with my contents and section pages.

Introduction

Ritual Book Series

Fig 7. Ritual Book Series 4 (s.d)

Fig 6. Ritual Book Series 3 (s.d)

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Dance Ink

Fig 8. Dance Ink 1 (2017)

Introduction

Fig 9. Dance Ink 2 (2017)

â&#x20AC;&#x2DC;The issue makes connections between the lines of dance performance and the graphic language of letterforms.â&#x20AC;&#x2122; (Pentagram, 2017) Dance Ink is an editorial project designed by Pentagram which combined dance photographs with letterforms that emulate the dancers movements. I saw it as a good source of inspiration in terms of the geometric forms and the bold letterforms that were used as page furniture and to resemble a grid system. I want to focus on using geometric forms for my own page furniture, adding page elements that will create a consistent flow through both my research book and final outcome.

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Off-White I want to take inspiration from not only editorial designs, but other mediums such as brands that successfully take on a modern stance. I am intrigued by off--whiteâ&#x20AC;&#x2122;s branding for their high-fashion company as they use a contemporary editorial style throughout their products and assets. They use a typographic style within some of their items and experiment with different techniques of displaying their logo, such as spray painting. I am interested in how relevant they are able to keep the brand, constantly evolving their ideas to create branding assets that portray a youthful/ streetwear feel. Iâ&#x20AC;&#x2122;d like to experiment with editorial layouts in the style of this brand, giving my own work a contemporary sense which focuses on experimental print techniques and typography as this will fit in with my dissertation concept exploring the modern age.

Images: Fig 10-13. (see appendices) 12 13

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Grafik Magazine I will be taking inspiration from a series of Grafik magazines, specifically focusing on the visual elements on the page. As I want my deliverables to take on a modern and contemporary approach, I want to experiment with elements such as: a shift in paragraphs of text, bold and outlined text contrasts, some of which could overlap, and dashes, which I could use as page furniture and image borders. These design aspects will allow me to create more of an interesting composition within my research book and poster.

Below: Fig 14. Grafik 2008 (2008) Top Right: Fig 15. Grafik 2007 (2007) Bottom Right: Fig 16. Grafik 2006 (2006)

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WORK SHOPS 02 021

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Physical Interfaces

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Editorial

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Innovation Thinking

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After Effects

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Flock & Foil

Workshops

Physical Interfaces Through the Physical Interfaces workshop, we experimented with joining up an Arduino board to different conductors, such as food and Play-Doh, which would then act as instruments when we connected it to a musical app on the Makey Makey website. Using these boards, we were tasked in groups to build a device that follows one of the aims provided, thinking about the inputs and outputs. Our chosen challenge was to ‘Give the room a personality’. The idea in the group was to make objects in the room scream when touched, such as the bin and the door handle. We used Scratch to program the scream noise into the Arduino board and foil as our conductor, which we then attached to the room objects to create the overall effect. This workshop helped to get my creativity flowing showing that no matter how absurd an idea is, it can still work successfully and should still be experimented with regardless. I want to take the same attitude from this workshop into creating my final outcome as it’ll help me overcome a creative block which is something I usually struggle to get past in projects.

“This workshop helped me to get my creativity flowing”

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Fig 17. Physical Interfaces 1 (2020)

Fig 18. Physical Interfaces 2 (2020) Workshops

Fig 19. Physical Interfaces 3 (2020)

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Editorial During the Editorial workshop we were tasked to use our magazines to create a spread by cutting and sticking them on a new sheet of paper. I chose to bring in an issue of Root + Bone and Vitsoe Voice that I’d picked up at MagCulture. By pinning up everyone’s work, we could get a feel of the variety of editorial styles in the room. My editorial style is simple and focuses on a meticulous structure. It was interesting to see how we could combine our styles by pairing different page halves together. We were then challenged to take someone else’s work and change the layout to improve it, which we then photocopied to change our spreads to one colour. Changing the page elements to be one colour made the overall layout look a lot cleaner and is a style I’d like to peruse for my own project. Once we handed the photocopied layouts back to the original owner, we were tasked to create a new layout taking inspiration from the style of work we had been given back. This part of the workshop was challenging at first but helped me to think outside my comfort zone about the way I create layouts. I think it will be interesting to see how well these designs work when I start to use my own content for my research book.

Right: Fig 20. Editorial Workshop (2020)

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â&#x20AC;&#x153;My editorial style is simple and focuses on a meticulous structure.â&#x20AC;?

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Fig 21. First Layout 1 (2020)

Fig 22. First Layout 2 (2020)

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Top Left: Fig 23. Chosen Layout (2020) Bottom Left: Fig 24. Second Layout (2020) Top Right: Fig 25. Given Layout (2020) Bottom Right: Fig 26. Third Layout (2020)

Workshops

Helvetica Bold Helvetica Regular Titles/ Headings Icidus del int. Icieni digent, idit quo exerunt, omnienis cullupta nia volorep ellissecatio te doluptur? Ut qui omnimus

Roboto Bold Roboto Thin Titles/ Headings Icidus del int. Icieni digent, idit quo exerunt, omnienis cullupta nia volorep ellissecatio te doluptur? Ut qui omnimus

Futura Bold Futura Book Titles/ Headings Icidus del int. Icieni digent, idit quo exerunt, omnienis cullupta nia volorep ellissecatio te doluptur? Ut qui omnimus idis mil et paribea 031

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Avenir Black Avenir Book Titles/ Headings Icidus del int. Icieni digent, idit quo exerunt, omnienis cullupta nia volorep ellissecatio te doluptur? Ut qui omnimus

Halyard Display Bold Halyard Display Regular Titles/ Headings Icidus del int. Icieni digent, idit quo exerunt, omnienis cullupta nia volorep ellissecatio te doluptur? Ut qui omnimus idis mil et paribea

Font Pairings I want the font I choose to be consistent throughout my research book and final outcome. To emulate the digital age and contemporary design I need to experiment with sans serif letterforms which also give a sense of simplicity. I have chosen to look at different weights in the same font family as this has proven to give a much cleaner look throughout previous editorial projects. Testing the fonts with titles and body text will inform my decision on which font I use.

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Creating Digital Layouts Digitising my editorial layouts, I felt I was restricted starting off with a 5-column grid and couldnâ&#x20AC;&#x2122;t get the layouts to work. However, changing to a 9-column grid allowed me to move elements of the page into a similar area to the original layout. I found that using a grid with any more columns than this overcomplicated the design and wasnâ&#x20AC;&#x2122;t necessary for me to achieve the layout I wanted. I also found that the designs worked better when I changed some of the body text positioning, page furniture and weight of the type. Overall, I prefer the simple layout of the first design yet felt the second looked too basic. I want to experiment with more contemporary designs for this project as this has always been something Iâ&#x20AC;&#x2122;ve struggled with during editorial projects. However, I like the composition of the third layout with the contrast of the quote between the images and could include this side of the design with the simple type layout of the first.

Fig 27. Digital Layout 1 (2020) 033

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Fig 28. Digital Layout 2 (2020)

Fig 29. Digital Layout 3 (2020) 034

Fig 31. 9-Column Grid (2020)

Fig 30. 5-Column Grid (2020)

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Fig 32. 11-Column Grid (2020)

Grid Experimentation When experimenting further with the layout I wanted to use, I tested the 5, 9 and 11 column grids to find the best fit. I prefer to use a column grid as it is more helpful to work with in terms of the design freedom. Starting off with the 5-column grid, I felt my creativity was vastly restricted as I couldnâ&#x20AC;&#x2122;t achieve the layout I started with. I then experimented with a 9-column grid which gave me a lot more freedom with where I wanted to put my page elements. When using an 11-column grid, I felt I achieved the same layout as my 9-column grid, so adding more columns wouldnâ&#x20AC;&#x2122;t be necessary and could overcomplicate the process.

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Fig 34. Pagination Plan (2020)

Research Book Planning To get started on my research book, I filled in a Contents Page sheet and a Pagination Plan which we were given to gain a rough idea on the sort of information we wanted to include and how we wanted to lay it out. These sheets were extremely helpful as they gave me a clear guide to follow on what I needed to do, step by step. Along with planning ahead with my research and designs on a calendar, these sheets are helpful in managing my time and will allow me to set myself clear deadlines, therefore helping me to reach my goal of producing a professional outcome.

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Left: Fig 33. Contents Page Sheet (2020)

Workshops

Innovation Thinking During the Innovation Thinking workshop, we focused on thinking outside the box and ways to make coming up with ideas easier. To start off the workshop we went around in a circle naming different things we could use a brick for. It was surprising to see how many ideas we came up with as a group when the pressure was put on us to constantly think of answers. We were introduced to two methods of innovation thinking. 180 Thinking, which told us to think the opposite of what we were currently thinking, which seemed to be an established concept in advertising, and the Six Thinking Hats, a system created by Edward de Bono. The theory of this method is that creativity is about breaking down a situation into small parts and then building it back up again. To give us an idea on how this worked, we used the system to discuss chocolate. It was interesting to see that companies like Dairy Milk use this method to come up with their advertising campaigns. Once we got to grips with these methods, we were tasked to come up with an innovative solution to a problem. My group wanted to focus on healthy lifestyles, specifically quitting smoking. The problem we had was that smokers find it hard to quit and often donâ&#x20AC;&#x2122;t stick to it. Therefore, our idea was to create a wristband that monitors when people smoke. Through the Six Thinking Hats we found a lot of people smoke for the social stance and to feel included. Therefore, we came up with the concept of rewarding users with points when they go a certain amount of days without smoking, which can then be added up to buy tickets and vouchers to social events such as festivals.

Right: Fig 35. Innovation Thinking (2020)

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Fig 36. Six Thinking Hats (2020)

Fig 37. Innovative Thinking Workshop (2020)

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We were then shown SAM boxes which are essentially sensors that can be programmed to link to other things. For example, a light sensor that is programmed to flash when you get a notification. We were tasked to include an idea of how we could use a sensor in our idea, which led us to come up with the concept of a smoke detector that will detect cigarette smoke within a certain distance. When detected, the userâ&#x20AC;&#x2122;s points can be deducted, which aims to put them off smoking and encourages them to keep a non-smoking streak. This workshop helped me to get to grips with thinking about my own project and showed me that I wonâ&#x20AC;&#x2122;t be solving a problem, but addressing it instead. I found the Six Thinking Hats system the most helpful and continued to use it for my research book, exploring print design. This table showed me the main focuses within print are creativity and engagement, which was interesting to compare against digital editorial design.

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After Effects Workshop One The After Effects workshop gave us a refresher on the basics of the software and introduced us to helpful tips such as the shortcuts and expressions we can use. We were tasked to animate a variety of shapes using tools such as the speed graph to change the smoothness of the animations and the parenting tool which we would use to pair our shapes to a null object in order to get them to all rotate simultaneously. I enjoyed animating the pendulum as we were able to make it look more realistic by adding a motion blur, easy ease and a loop using the “PingPong” expression. I found it interesting to see how simple it was to make an animation that looked like it had taken longer to put together. After refreshing over the basics of the software, I want to explore further into the software as this is what I’ll need to be using to create my AR animations for the final outcome. I would definitely like to experiment with kinetic typography but also delve into 3D objects to see if there is anything I could incorporate into my project here.

Right: Fig 38. After Effects 1 (2020)

“I would definitely like to experiment with kinetic typography”

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Workshop Two In the second workshop, we were given refresher tasks on how to create accent graphics such as line bursts, repeaters and kinetic type. The animations we were tasked to recreate seemed complicated at first but we were shown how quick and simple they were to produce. This workshop was helpful in giving me ideas for what I could do for my final outcome animations. One of my current ideas is to put a specific focus on creating kinetic type which I could potentially use to pull out quotes from the dissertation.

Right: Fig 39. Kinetic Type (2020) Fig 40. Circle Burst (2020) Fig 41. Line Burst (2020) Fig 42. Poly Burst (2020) Fig 43. Repeater (2020)

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Flock & Foil During the Flock and Foil workshop, we were introduced to new printing techniques similar to screen printing. In the first half of the workshop, we were able to play with creating patterns onto fabric with foils. I thought it was interesting that we had the option to either stencil our patterns through a screen or paint the glue on by hand to create handmade patterns. I preferred to use stencils to create clean designs but also enjoyed creating more experimental designs with the paintbrush. For the second part of the workshop, we produced designs on fabric with flocking. This used the same process as foiling but created a different effect, giving a velvet touch. I enjoyed creating my own inked fabrics and mixing both flocking and foiling techniques. The foiling created a much more vibrant outcome, but I think there was much more I could do with the flocking in terms of the designs, especially when put over the foils. This was a good way to gauge if any of these techniques would be useful in my final outcome as a way to express the perks of print design.

Right: Fig 44. Foiling (2020)

â&#x20AC;&#x153;I preferred to use stencils to create clean designsâ&#x20AC;?

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â&#x20AC;&#x2DC;The Internet has also laid down a creative challenge to publishers: how do you make the most out of print?â&#x20AC;&#x2122; (Leslie, 2013) Left: Fig 45. Off White Foiling (2020) Next Pages: Fig 46. Flocking and Foiling (2020) Fig 47-53. (see appendices)

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AREA OF STUDY 03 059

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Editorial History

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Contemporary Design

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Typography & Grid Systems

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Further Inspiration

Area of Study

Editorial History Graphic Design began to emerge centuries ago, and Editorial Design started making its mark in the sixteenth century where ‘news ballads published in broadsheet form started to appear’ (Drucker and McVanish, 2009:99). In 1687, The London Gazette was published, paving the way for editorial layouts in design. The title was enlarged to be ‘visible from afar and conspicuous among other papers’ (Ducker and McVanish, 2009:101). This header showed the newspapers brand to potential consumers and the format allowed all the information to be easily placed in and read through. No headings for different stories were included. As Editorial Design expanded and a variety of newspapers launched, letterforms became a popular talking point, with the first type specimen sheet being created in 1734 by William Caslon. The sheet included a range of typefaces and ‘were immediately adapted for use in any and every kind of printed matter’ (Drucker and McVanish, 2009:110). The Industrial Revolution ‘expanded graphic and typographic vocabularies’ (Drucker and McVanish, 2009:119). The cast iron press in 1809 allowed for a larger printing area, leading to a greater and quicker reproduction. Lithography brought designers more flexibility for image production. The ‘first papermaking machines increased paper production’ (Drucker and McVanish, 2009:119) and ‘the speed and efficiency of mechanized punch cutting and type casting generated decorative display types in abundance’ (Drucker and McVanish, 2009:119).

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Fig 54. The London Gazette (1687)

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Fig 55. Type Specimen Sheet (1728)

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Drucker and McVanish write that ‘the most radical change in the media landscape’ (2009:121) were illustrated papers. Soon after in 1823, a newspaper used illustration in one of their publications, which described a notorious murder, managed to sell 500,000 copies as one of the first to use illustrated images. Soon after, The Penny Magazine became the first weekly illustrated paper in 1832. Along with this, literacy rates amplified in Europe and the United States creating a demand that started a huge increase in mass-market production. By the late 19th century, publishers started to cater for different social groups. For example, Cosmopolitan, A Boy’s Own Paper, Vanity Fair and The Saturday Evening Post were all launched in the 1880’s and catered for different age ranges and class status. As technology continued to advance, so did design. There were improvements in printing press speed and new sources for paper fibre led to more of a variety of printed publications. From books and newspapers to posters, prints, journals, reviews and albums. Posters has become their own art form and referred to uses of colours, composition, line and iconography. By the mid-century, photography had become the popular way of producing images and advertising had become ‘the first speciality to become fully established as a professional service’ (Drucker and McVanish, 2009:155) changing the way Editorial Design was viewed and communicated. Ad agencies were soon buying and selling spaces for designs in newspapers, journals, and on walls and billboards.

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Fig 56. The Penny Magazine (1838)

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1687 1734 1832 1835 1839

The London Gazette was published, using a different layout design to common papers.

HISTORY TIMELINE

William Caslon created the first Type Specimen Sheet.

The Penny Magazine, the first weekly illustrated paper, launched.

The New York Herald launched and issued 20,000 copies a day.

The first electric printing press was produced.

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â&#x20AC;&#x2DC;People have always held books in high regard, possibly because in past centuries books were expensive and were, therefore, purchased only by the rich.â&#x20AC;&#x2122; (Poynter, 2007:21)

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The Arts and Crafts movement was a key time in design history during the late 19th century. The Studio was the first magazine to embody this movement. Its styles and ideals influenced artists to spread the Arts and Crafts principles through their own publications and therefore own styling. â&#x20AC;&#x2DC;These journals helped internationalize aesthetic movementsâ&#x20AC;&#x2122; (Drucker and McVanish, 2009:165). This movement helped encourage different styles in Editorial Design and gave designers the inspiration to start forming their own art movements.

Fig 57. The Studio (1893)

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18 60 18 90 19 09 19 10 19 70

Aestheticism- A movement that focused on creating design for beauty without a deeper meaning.

Art Nouveau- A decorative and expressive style that took inspiration from nature.

Futurism & Dada- International movements. Futurism celebrated the Industrial Revolution and inspired the Dada Movement, which rejected logic and expressed satirical art.

Modernism- A dismissal of historical design and an expression of innovation with form and function, clarity and simplicity.

Postmodernism- The rejection of the Modern Movement, producing deconstructive design that celebrated complex meaning and scepticism.

Area of Study

The Aesthetic Movement believed in Art for Art’s sake. One of the most recognisable movements in design was Modernism. The 1920’s took traditional and historical design to modern design, especially with the Bauhaus replacing organic forms with geometric. ‘The year 1923 marked a shift from Arts and Crafts to art and industry’ (Drucker and McVanish, 2009:202). Postmodernism evolved from this in the 1970’s, publishing deconstructive styles such as punk design. Jamie Reid’s album cover design for Sex Pistols in 1977 is a good example of this era. Theorists of Postmodernism ‘questioned the way basic categories like knowledge power, authority, sexuality, discipline, and disease had been defined in symbolic discourses’ (Drucker and McVanish, 2009:319). Essentially, Postmodernism design questioned the values previously held by movements like Modernism and broke these principles to create a new wave of design. Looking through the history of Editorial Design is important to know for this project as it gives me an understanding as to where it started and how it evolved, especially as I am looking towards creating an outcome that represents the future of print design. As a designer, I am most inspired by both the Modernist and Postmodernist movements and believe these will be the designs that take the lead on my inspiration for the project.

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Left: Fig 58. Bauhaus Exhibition (1923) Right: Fig 59. Sex Pistols (1977)

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Contemporary Design Contemporary Design became a term in the late 20th century. It was used to describe work of ‘an innovatory or avant-garde nature’ (Tate, s.d). It reflects style that is current and portrays popular trends. The design term does not refer to a specific time period and instead puts focus on the constant evolution and future of design trends. Most contemporary designs take inspiration from styles and reflect on what is currently happening in the design industry. One way to find a variety of contemporary designs is through magazines. Magazine design is always evolving, and designers are playing with new and experimental graphic styles. Places such as magCulture keep up to date with the latest design magazines, showing a range of contemporary styles in Editorial Design. One of the magazines featured is frieze, who list themselves as “The leading magazine of contemporary art and culture” on their social media pages. This magazine highlights contemporary art while creating their own style of contemporary design through their layouts, portraying a minimalistic style in terms of the composition of type and image. Overall, I think looking through a wider variety of magazines will give me more inspiration and ideas for my own designs.

Right: Fig 60. Issue 166 (2014) Next Page: Fig 61-77. (see appendices)

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Typography & Grid Systems For my final outcome, I will need to focus mainly on creating a grid system that works with my text heavy composition and the layout of typography. Since my dissertation is set into different sections, the poster will have large paragraphs and I will need to create an editorial style which allows for easy readability but a composition that catches an audience’s attention. For this, I have been looking at visual inspiration from the International Typographic Style, specifically posters from Josef Müller-Brockmann, who was one of the pioneers in this movement. His work focuses heavily on the grid system which allows for a simple organisation of the design elements, spreading the Swiss aesthetic. Many of the designs that take on the style of this movement put emphasis on readability and a clean composition, which I want to experiment with when creating my own poster. Overall, I believe this style will help me with the way I present my dissertation, allowing for a well organised layout in terms of my typography. This way I can then focus on other design elements such as the images, titles and pull out quotes, which will create a more dynamic and designed feel to the page.

Right: Fig 78. Juni-Festwochen Zürich (1957)

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Further Inspiration magCulture

At magCulture, I was inspired particularly by the way compositions were created with image, especially on the front pages of magazines. I also found inspiration in the typefaces designers used depending on the content of the magazines.

Top Left: Fig 79. magCulture 1 (2020) Bottom Left: Fig 80. magCulture 2 (2020) Right: Fig 81. magCulture 3 (2020)

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Fig 82. magCulture 4 (2020) 081

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Fig 83. magCulture 5 (2020)

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Left: Fig 84. magCulture 6 (2020) Right: Fig 85. magCulture 7 (2020)

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Fig 86. magCulture 8 (2020)

Fig 87. magCulture 9 (2020)

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Fig 88. magCulture 10 (2020)

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magCulture Studio Jeremy Leslie Interview On a phone interview with Jeremy Leslie, the founder and Creative Director of magCulture, I asked questions surrounding the Print and Digital debate to gain an opinion from a professional in the industry.

1. Do you have a preference on designing for print or screen? Not a huge preference but probably still print. Just because an awful lot of print stuff is very templated like it is online but there are still projects in print where you can be less templated and more flamboyant if you like.

2. When designing for web, do you take a different creative approach to the way you design in comparison to printed matter? It’s very different for the fact that generally when you’re designing for print you’re in Creative Suite and you’re hands on and able to control every aspect of what’s happening, whereas when you’re working online you tend to be relying on someone else who’s going to be doing the development and coding, so you’re less able to push things and try things. You’re doing it by one stage removed. So, you have to approach it differently, even if you start off designing in InDesign or Photoshop and then have to transfer it to the online realm, so many things change along the way. 087

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3. What is your opinion on the Print vs Digital debate? To me it’s always quite self-evident and simple and that is that the two forms are always going to live together and feed each other rather than beat each other up. And whilst there’s obviously been a huge impact on print from digital in various spheres like newspapers and weekly magazines and news magazines and things like that, actually, the internet has driven the growth to hold a new area of print publishing which is what we said about the independent magazines. They couldn’t exist without the internet. So I think people always make assumptions and guesses and predictions, and that things will really turn out the way that people think they’re going to turn out, and one of those very clear things in this case is exactly that the internet has encouraged people to develop their own editorial voices and it’s given them confidence in what they’re trying to communicate And still, ultimately, whatever you do online, if you make a success of it then the next step is to move it to print.

4. What do you think keeps an audience interested in printed publications? The big difference, and I’m very realistic about this, of course there was a time 20-25 years ago where printed magazines had a far more central role in our media diet. They were far more vital in getting the latest information and news, or just finding out what gigs are on or anything. Print was the only format you could really see that information on. That’s changed, that’s gone, we’ve moved on from that era. But now I think people value some of the more essential parts of the print experience and that is the way that it engages you on so many different levels above and beyond. It’s such a different experience to reading or experiencing material on a screen. We all rely on our phones and screens, we spend so much time on them and the rest of the time we’re bouncing from email to web to social media and back again, it’s all very hectic and intense and very powerful in lots of ways. But actually, I think people are beginning to appreciate the relative calm and peace of enjoying print, so it’s a slightly different role now but I think it still has that role. 088

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5. What is your take on the role of audience interaction within print and digital media? I think a lot of the basic interactions in the digital sphere that we make now are so simplified down to just trying to do stuff that’s repetitive and addictive and sort of feeds your need for novelty and change and more more more. But actually, that sort of experiential side got rather depressing and rather dull. We post a lot of stuff on Instagram and I find myself pouring over Instagram feeds and I know it’s sort of a drug, and it’s not very satisfactory, and I think actually, interaction and every step of it, you have the control of turning a page, which is ultimately far more satisfying and far more engaging. But it’s not as addictive, so it’s a very different thing. I think in terms of the basic structures you can create in print: printed material and printed designs, are far more subtle and far more able to have a variety and variation within quite complex pieces. Online, everything tends to be very much the same, there’s just a thing that works on the screen and you see it again and again and again when you’re reading stuff. The role and function take over from character, whereas I think in print, character has a more equal balance with function.

6. What do you think is in store for the future of Print Design and the ongoing struggle between print and digital media? Well I think they’re already being briefly seen as together. They’re being created on the same machines, they’re using very similar software, they’re much tighter than they ever have been. I think we’re seeing more designers get hands on with coding and it’s being more of a cross over between roles and less of the “I’m the designer and you’re the coder”. There’s more cross pollination between print and digital than there ever has been, and I think that will continue. I think they’re getting closer and closer and we’re getting a development and better understanding about what those forms are good at, and then taking advantage of what they’re good at rather than trying to squeeze one into the other.

Right: Fig 89. magCulture Shop (2017)

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Magma At Magma, I preferred to look through the magazines that utilized bold or experimental typography techniques to communicate messages, and compositions that were eye catching or different to the norm of print.

Images: Fig 90-95. (see appendices) 91 90

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Garment Magazine When looking around Magma, I came across a magazine called Garment, which is a fashion magazine created by students at the Amsterdam Fashion Institute. I was instantly drawn to the way this magazine used an iridescent print for their front cover title and cut out a circle to bring one of their images to life. When I looked through the pages, the way the magazine had been designed immediately caught my eye. I was mostly interested in the layouts that included experimental typography which was laid out in a way that was so unique it stood out against surrounding magazines. This felt like a refreshing magazine to look through and inspired me to think about the experiments I could play with for my own project.

Below: Fig 96. Garment Magazine 1 (2020) Right: Fig 97. Garment Magazine 2 (2020)

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Fig 98. Garment Magazine 3 (2020)

Fig 99. Garment Magazine 4 (2020)

Fig 95. Garment Magazine 5 (2020) Fig 100. Garment Magazine 3 (2020)

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Fig 101. Garment Magazine 6 (2020)

Fig 97. Garment Magazine 7 (2020) Fig 102. Garment Magazine 6 (2020)

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Skinny Dip Passing a Skinny Dip store, it was interesting to see their store front was designed in the style of a computer. This gave me the impression that creating the digital space in reality has become a trend, especially within branding that targets a younger audience. I found this to be prominent research within my dissertation, portraying the idea that brands use the digital space mainly to connect with their younger consumers.

Below: Fig 103. Skinny Dip (2020)

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They Made This I visited a graphic print pop-up shop which had a variety of bold posters framed around the shop. I loved the way the designers utilized colour and illustration to create eye-catching designs that took on a simple and minimalist approach. I was particularly interested in the prints that used collaging techniques with bitmapped photos. Overall, these art prints were inspirational to my own project as I want my outcome to take on a bold composition to catch my audienceâ&#x20AC;&#x2122;s attention.

Bottom Left: Fig 104. They Made This (2020) Bottom Right: Fig 105. Jimmy Turrell (2020)

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Self-Publishing ‘Self-Publishing is where the author bypasses all the intermediaries, deals directly with the editor, cover artist, book designer and printer, and then handles the distribution and promotion’ (Poynter, 2007:37). It is a term mainly associated with authors and is a field that is constantly expanding. Poynter explains within his book that small and self-publishing companies are growing while the larger publishers ‘are consolidating, downsizing and going out of business’ (Poynter, 2007:26). While this project is not completely related to dealing directly with those a self-publisher would, it is interesting to grasp an understanding on the idea of self-publishing, especially the changes from print publishing to digital publishing. It is important to recognise, especially within this area, why these changes are taking place.

‘Writers around the world are getting their books to readers – and getting paid for it’ (Flood, 2011)

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Reasons to Self-Publish

01 02 03 04 102

You are able to get your material released quicker and save the hassle of relying on a publisher.

You can keep complete control of your publication, for example in terms of the cover design, title and copy editing.

You can gain an understanding of publishing, especially in regard to the costs and decisions made.

You have a better chance at making money in the long run rather than accepting only a percentage of revenue from publishers and therefore relying heavily on sales.

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Mark Dawson: Traditional To Digital Mark Dawson is a UK based self-published author. He first started writing in 2000, publishing the books: ‘The Art of Falling Apart’ and ‘Subpoena Colada’, which were both traditionally published and placed in bookstores. Both publications didn’t sell well as the publishers failed to promote the books, therefore fewer people read it due to the lack of awareness. Dawson moved to the Amazon Kindle and made the decision to self-publish his third book ‘The Black Mile’ which initially did not get any attention until the choice was made to sell it for free as a “promotional tool”. As a result the book sold 50,000 copies.

‘In the end, I realised that marketing was key: I would have to learn how to produce the book professionally and then promote it myself.’ (Dawson, s.d) Dawson started the ‘John Milton’ series in 2013 and has gone on to sell over 300,000 copies in the format of E-books and Audio books. He credits Facebook advertising and engages with his fans through mailing lists and blogs to create a loyal community. ‘He’s done what he could never do with a traditional publisher because he can exercise complete control over the entire process’ (McGregor, 2015).

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Fig 106. John Milton Series 1 (s.d)

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Fig 107. John Milton Series 2 (s.d)

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Conclusions Self-Publishing is clearly still growing in the market, especially for authors, and requires the ability, drive and organisation to be successful (Poynter, 2007:19). Marketing has shown to be a key factor in driving attention to self-publications and these publishers have shown to thrive within the digital space. E-books â&#x20AC;&#x2DC;have been the game changer for self-publishingâ&#x20AC;&#x2122; (Flood, 2011) and it looks as if this could potentially be the future for self-publishing.

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Print vs Digital Print Design In an era over the last two decades where ‘everything became digitalised and over-standardised and the values of experimentation were absent’ (Conrad, 2015:6), Print Matters explores varied print techniques, showcasing designs that ‘would not be possible solely with a digital printer’ (Conrad, 2015:6). Looking through this book, I was intrigued to the designs that incorporated interaction and felt this would be a good concept to research in order to inspire the interactivity within my final outcome. To get a broader understanding, I looked at the interactive designs through three different mediums: a poster, brand and book.

A Poster: Ingenuity Nature This project by 84000 Communications Limited, established in Hong Kong by artist Stanley Wong, aimed to ‘highlight the possibilities of calligraphy at present’ (viction:ary, 2015:154). Posters were produced using a velvet material that was able to detect water and gradually let it disappear. The posters allowed the public to write calligraphy as if it was paint and then watch it disappear, enabling more than one use. ‘The designer removed himself from the posters and let the participants be the subject’ (viction:ary, 2015:154).

Right: Fig 108. Ingenuity Nature (2012)

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A Brand: N. Daniels This branding project by Bureau Rabensteiner, an Austrian studio that specialises in quality and detail, used screen printing and special ink to create a thermo-sensitive touch. The printed elements were inspired by polaroid designs and when interacted with by a recipient, would turn white. The studio took a dynamic approach to the branding and catered to an audienceâ&#x20AC;&#x2122;s own personalisation with imprints.

Fig. 109. N. Daniels 1 (2012)

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Fig 110. N. Daniels 2 (2012)

Fig 111. N. Daniels 3 (2012) 110

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A Book: In Good Hands A book designed and created by Bruketa & Zinic OM, a leading advertising agency with over 400 awards for design, used special ink to create thermal designs that would reveal colours and patterns when interacted with. The front cover revealed a natural, green pattern and other illustrations within the book took on the same concept. The studio also created a digital version incorporating the same interactive effects as the physical book.

Left: Fig 112. In Good Hands 1 (2012) Right: Fig 113. In Good Hands 2 (2012)

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In conclusion, these few projects convey that print design is still widely important even with the evolution of digital practices and traditional techniques are still relevant in creating innovative design that cannot be done digitally. Over the three different mediums, the projects had similar techniques such as the thermal book and branding assets, and were all comparable with the aims regarding an encouragement of interaction within print. However, what differs is the way they have designed interaction for a specific audience. For example, a simple touch with the branding assets against the requirement to write and use tools like a paintbrush for the calligraphy posters. This could have different impressions on the audience and for my own project I would like to explore more on how my specific audience interacts with design in order to inspire the way I create interaction with my outcome.

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Digital Design ‘Digital technology brought conceptual changes to graphic design’ (Drucker, McVanish, 2009:323). It created a shift in editorial styles, and a change in designers’ responsibilities and knowledge (Drucker, McVanish, 2009:323). With programs introduced that would let designers use tools to easily place graphics and change font styles, sizes and colours, more designers emerged, some of them being well known in the design industry today. In 1991, Neville Brody took advantage of new technology and launched the interactive magazine, FUSE. This magazine experimented with digital type, exploring new creative approaches to creating typefaces, for example, challenging legibility and traditional forms of typography. Each issue would be sent via a computer disk and contain at least four of the designer’s fonts and typography posters. The magazine is now seen as an innovative use of the digital space for design at the time and is looked upon by many designers in the industry today as contemporary inspiration.

Left: Fig 114. FF Blur (1992)

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Fig 115. Fuse 1 (s.d)

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Fig 116. Fuse 2 (s.d)

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In 1984, Emigre, a now well-known type foundry, published their first digital design magazine. Their website ‘became a premier site for design discussion’ (Drucker, McVanish, 2009:329) and ‘served to launch their new font designs’ (Drucker, McVanish, 2009:329). Each issue published was different in terms of the mood and attitude that was expressed graphically and led Emigre to become a model for hundreds of designers following in their footsteps. They are widely known now in the design industry for their variety of fonts which is the focus of what they do on their website, and continue to shape digital design with their collections throughout art museums such as The Museum of Modern Art and The Design Museum.

Left: Fig 117. Emigre #24 (1992)

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“I’ll be using digital technology to take the design that one step further.” In conclusion, the digital space has impacted Editorial Design from the perspective of giving designer’s the tools to create design that they didn’t have the resources to do before. We can gather from this that the technology is not here to overthrow print design, but to supply designer’s with new ways to improve the creative process and take designs one step further. I want to be able to achieve this with my own project by producing a printed publication that highlights the editorial design skills I’ve learnt, but I’ll be using digital technology to take the design that one step further.

Left: Fig 118. Emigre #69 (2005)

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â&#x20AC;&#x2DC;Ultimately like the two simultaneou and decons other, to co and form ne languagesâ&#x20AC;&#x2122;

y I would o media to usly inform struct each onnect ew visual â&#x20AC;&#x2122; (Simonato, 2003:164)

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Augmented Reality According to Oľga, Augmented Reality is ‘a specific form of digital image of reality that adds virtual elements to the real-life image’ (2018:58). AR is essentially used to digitally alter a user’s surroundings, creating a new experience through their camera. Through researching for my dissertation, I have learnt that AR is used in the industry to engage younger audiences, therefore, I am aiming to use this technology as a way of engaging my own audience, bringing their attention to a traditionally printed poster as a way of creating engagement and interaction for print. My main idea for the animations I want to use for my AR poster are based on the concept of recreating print techniques digitally. Whether this is using paint strokes to reveal a pull out quote, or paper rips to reveal an image, I want to be able to experiment with different techniques that’ll further portray my aims of bringing the two mediums together. As a starting point to my research, I looked at possible animations I could create with After Effects, and projects already in the industry that take on a similar concept to what I will be trying to achieve for my own outcome. I found the kinetic typography project by Roberto Warner interesting as he stuck to using neutral colours to put the focus on the moving type over a paper texture, ultimately giving the impression of an animated poster. This gave me an understanding of the way typography can be animated, for example, the designer created a ripple effect to give a sense of water.

Right: Fig 119. Ripple (2018)

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Another kinetic type project that caught my eye was a video called “From Paper To Screen” by Thibault de Fournas. The concept of this video was to show how typography changed from being traditionally used in print to the digital screen. I was specifically interested in the first part of the animation, which showed typography on paper, as this focused purely on putting the typography on display in an animation that flowed smoothly and only changed small details to create a big impact. Ultimately, I would like my AR to follow this design process and stick to simple kinetic type animations as I’ve found with my dissertation research that showing too much information to an audience can be seen as “bombarding” and create a negative response.

Top: Fig 120. From Paper To Screen 1 (2014) Middle: Fig 121. From Paper To Screen 2 (2014) Bottom: Fig 122. From Paper To Screen 3 (2014)

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CASE STUD IES 05 127

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Colour Memory

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Things Our Friends Have Written On The Internet ‘Things Our Friends Have Written On The Internet’ was a project in 2008 where a couple of designers collected things from the internet and printed them in a newspaper format. Only 1000 copies were printed and distributed in the UK. The aim for the design was ‘to be like a newspaper, without pastiching a newspaper’ (Terrett, 2009). Looking at the design we can see the designers have used digital elements in the format of a printed publication. For example, they have incorporated hyperlinks under article headings and personally chosen tweets of the year, designing them as page headers. Essentially, the audience is reading the internet through this publication, just removing the screen. This is an interesting example of visual communication to look at for my own outcome as it shows designing digital elements into printed media can be done successfully. Thinking about how I could include small features like this for my poster, an idea would be to look into adding QR codes, further providing the digital space through a print medium and giving my audience more content alongside the dissertation. By putting digital elements such as hyperlinks into a printed medium could be seen as print design blocking the digital as a result of them no longer working. Using AR will give a better response with combining both media.

Top: Fig 123. Tweets (2009) Bottom Left: Fig 124. Header Tweets (2009) Bottom Right: Fig 125. Hyperlinks (2009) 129

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â&#x20AC;&#x2DC;We didn't edit any posts at all. So they're full of typos.â&#x20AC;&#x2122; (Terrett, 2009)

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Ben Terrett Interview I was interested in this particular combination of print and digital mediums and asked one of the designers, Ben Terrett, a few questions about his thoughts on the way print design is changing in the digital age.

Image: Fig 126. TOFHWOTI (2009)

â&#x20AC;&#x153;We are now designing for clicks and not readability.â&#x20AC;?

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1. Where do you stand on the Print versus Digital front? I don’t think it’s a thing. There’s room for both. 2. Do you prefer to interact with Print or Digital designs (e.g. print/online magazines)? Why? Both. There’s a time and place for both. I read the FT.com a lot in the week but buy the Financial Times paper at the weekend. 3. In ‘Things Our Friends Have Written On The Internet’, what did you want to achieve with the use of printed hyperlinks and tweets? We were just testing whether people would respond to a printed format of digital articles and to see if Newspaper Club would be a viable business. Turns out it was! 4. To what extent is the digital space affecting the print market? Well, print is obviously in decline. But it has allowed printed publications to focus on different markets. The rise in “niche” magazines is a good example of this. MagCulture does a good job of covering these. 5. How do you think the digital space has changed the way we interact with Editorial Design? We are now designing for clicks and not readability. That’s not good. 6. What is in store for the future of Print Design? Eeeeek!!! No idea.

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Whitechapel Gallery A Century of Poster Design I want to look into creating a poster for my final outcome and thought it would be interesting to start by researching previous poster design. The Whitechapel Gallery have an archive of all their posters which date back to 1903, showing the major changes in poster design and their influences over a century. Their earliest posters start off by using only type and page furniture such as decorative lines with one colour. They use a serif as their main typeface for these, however, in some they use a combination of both serif and sans-serif.

Top: Fig 127. House and Home (1911) Bottom: Fig 128. Shipping Exhibition (1903)

â&#x20AC;&#x2DC;As pixels gain priority over print, the future of the poster grows uncertainâ&#x20AC;&#x2122; (Vaughan, 2009:7).

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Fig 131. East End Academy (1951)

Further along the timeline, they start to incorporate illustration into their designs, ranging from basic colour block images to the more detailed and colourful. Colour soon becomes an important feature of their designs, however with typography still being the main focus.

Left: Fig 129. Design and Workmanship Printing (1915)

Fig 130. East End Story (1949)

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â&#x20AC;&#x2DC;It may be that the tactile freedom of hand-drawn design ensures the original form of the poster survivesâ&#x20AC;&#x2122; (Vaughan, 2009:7).

The galleries image treatment starts to become more experimental, incorporating line art and photography into their posters. Different styles of art appear within their posters, with designers thinking more about the composition of elements they are using. Around similar dates, we can see a huge difference in how art movements have impacted the way these posters have been designed.

Left: Fig 132. This Is Tomorrow 1 (1956)

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The “This Is Tomorrow” ‘theme was the ‘modern’ way of living and the exhibition was based on a model of collaborative art practice’ (Whitechapel Gallery, s.d).

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Fig 133. This Is Tomorrow 2 (1956)

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Fig 134. This Is Tomorrow 3 (1956) 141

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Fig 135. This Is Tomorrow 4 (1956)

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Further into the century and the poster designs are still utilizing sans-serif fonts for titles and serif fonts for body text. However, we can see that the newfound designers have more knowledge on Editorial Design and are thinking more about the arrangement of page elements with grid systems. Moving into the late 20th century and early 21st century, the designs for these posters have become more contemporary and take on a modern approach to Editorial Design in terms of the typefaces they choose, the alignment of images and the use of negative space. In conclusion, these posters show how poster design has been influenced by changes in time and artistic movements. I will be looking more towards the recent poster designs as I want my own poster to take on contemporary design elements. However, I want to take inspiration from the posters that took on modernistic approaches, especially within the typography, as I’d like my text to show a consistent flow with a clean and simple design that guides the audience’s focus to the Augmented Reality. I’d also like this modernist approach to reflect design aspects, such as the use of a grid, that makes print design what it is, which Ludovico writes is ‘the very best ‘interface’ ever designed’ (2012:7).

Left: Fig 136. Brice Marden (1981) Next Page: Left: Fig 137. Cindy Sherman (1992) Right: Fig 138. David Adjaye (2006)

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Zeka Design Zeka Design is a designer who creates poster collections that explore different themes. He uses collaging techniques to produce a minimal yet inspiring design, and styles his posters with a mix of type, image, colour and shape. I’m particularly interested in his use of contrasting organic and geometric shapes while using colour and opacity to create a bold but softened effect over images. Even though I will be creating a bolder poster to align with my research book design and keep my process consistent, I will be taking inspiration from these contemporary compositions and experimenting with how I can use the grid to overlap elements to create a more interesting visual. I was intrigued by the use of experimental type within the Seventies collection, especially as the designer has taken advantage of the stroke of the type to balance his composition so it doesn’t become overwhelming and keeps a minimal stance. As I’m publishing my dissertation, my poster will be more text heavy, however I want to experiment with this effect within my titles and take inspiration from the way the designer has used page furniture. If I was to take on the aspect of minimalism from these designs, which would align with the negative space utilized within my research book, I would need to experiment with the amount of content I have on different page sizes to see what works best. For this I’ll be looking into A1 and A0 sizes.

Right: Fig 139. Seventies (2020) Next Page: Left: Fig 140. People 3 (2020) Right: Fig 141. Deconstruction (2020)

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Colour Memory Thomas Sanocki and Noah Sulman tested the theory that ‘colours with similar hues can help retain information in a person’s visual short-term memory’ (Galaroza, 2017). To do this they created 4 experiments that incorporated two sets of harmonious and disharmonious colour palettes. Each of these experiments differed in the number of colour squares used in the palettes. Participants were asked to compare the two sets of colour patterns and rate whether the palettes were the same or different, harmonious or disharmonious. The results showed that participants remembered the harmonious and similar colour patterns better, and remembered the patterns that had less colour squares much better than those that had more. It was also shown that the contrasts in colour surroundings impacted how well participants remembered the colour patterns. To conclude, for my final outcome I will be focusing on less using full colours, to create a more eye-catching and memorable design and would like to experiment with using contrasting colours that will help me to focus my audience’s attention on the content of the poster.

Right: Fig 142. Four Trials (2011)

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Harmonious Colour Inspiration- Mike McQuade Left Top: Fig 143. Labelling Students As Anti-Semitic (s.d) Left Bottom: Fig 144. Decoding Human Intelligence (s.d) Right: Fig 145. Medical Identity Theft (s.d)

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The Aesthetics of Reading It has been shown that when people are in a positive mood, they perform better in creative cognitive tasks and this mood is easy to manipulate (Larson and Picard, 2005). Kevin Larson from Microsoft and MITâ&#x20AC;&#x2122;s Rosalind Picard wanted to test this theory with the use of typography in reading. To do this they created an experiment where participants would be split into two groups where one group would be reading an article with good typography and the other with bad, for 20 minutes. Participants were not aware there was a good or bad version. For the first part of the experiment, participants were interrupted around the 15-minute mark and asked to estimate how long they had been reading for. For the second part of the experiment, the participants were asked to complete the candle task, a cognitive test which assesses problem solving skills. For the first part of the experiment, the results showed that participants in the bad typography group underestimated their reading time by an average of 24 seconds, whereas the other group underestimated it by an average of 3 minutes 18 seconds. This showed the good typography was responsible for a much greater engagement. For the candle task, results showed that 4 out of 10 participants in the good typography group solved the task compared to 0 participants in the other group. This portrays the theory that participants in the good typography group were in a much better mood before starting the test.

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As the poster for my final outcome is going to be text heavy, this study has shown me that I need to put a larger focus on the typography choices I make to aim for a positive mood and greater engagement within my audience.

Top: Fig 146. Good Typography (2005) Bottom: Fig 147. Bad Typography (2005)

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Typography Inspiration- Holo Magazine Left Top: Fig 148. Holo 1 (2016) Left Bottom: Fig 149. Holo 2 (2016) Right Top: Fig 150. Holo 3 (2016) Right Bottom: Fig 151. Holo 4 (2016)

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24/7 Exhibition To gain a better understanding on audience interaction, I observed young designers interacting with the 24/7 exhibition, which put a focus on digital design. Learning from research during my dissertation, the outcome for my observation seemed predictable with people being more drawn to interactive or moving designs over the latter. However, the observation showed not only what people were interacting with, but how they were interacting and their reactions towards it. I found with videos and games, people would sit quietly and ignore the outside world while putting full focus on the installation, whereas immersive experiences would create conversation and get people thinking, particularly about the purpose of the installation.

Right: Fig 152. Observation Notes (2020) Next Pages: Fig 153-158. (see appendices)

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I further observed that traditional ways of designing such as posters and framed fabrics were not completely ignored. Some were walked past and not taken much notice of, whereas others generated attention and had pictures taken. I gathered the difference was the way it was designed. Most people were drawn to brightly coloured posters or images that utilized bold typography over the small sketches that showed artists processes.

Below: Fig 159. Observation 4 (2020)

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In conclusion, from observing a young designers point of view, it is evident that we are drawn to designs that encourage interaction and get us thinking about the artists thoughts and processes when creating their installations. Our first instinct when surrounded by designs is to move towards the animated or the brightly coloured areas. Designs that stand out are important factors in engaging a designerâ&#x20AC;&#x2122;s attention. For my outcome Iâ&#x20AC;&#x2122;ll be keeping a focus on creating eye-catching design and interaction that engages. The idea of getting an audience thinking gives me ideas on what I could create for my animations. Depending on where I place these animations on my poster, an idea could be to utilize print techniques in a digital space, e.g. brush strokes and paper rips. This would be an idea Iâ&#x20AC;&#x2122;d like to experiment with to direct my audiences attention to the idea of print in a digital age.

Next Pages: Fig 160. Observation 5 (2020) Fig 161. Observation 6 (2020)

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Madame Tussauds Looking at Augmented Reality in Print Design already in the industry, I found a project by Nayim Rahman who produced a guidebook for Madame Tussauds in 2019 which allowed visitors to scan pages through the Blippar app to create an exciting experience that would see characters such as Ironman come to life and unlock content such as behind the scenes videos. As with Madame Tussauds, the aim of this guidebook was to bring fictional characters to life and create an immersive experience that engages audience interaction. In a sense, my final outcome will be doing the same as I would like to engage this same interaction as a result of my dissertation research portraying AR is most successful being used for this purpose. However, my main aim will be to unite the two media as a response to the Print vs Digital debate.

Right: Fig 162. Madame Tussauds AR Guidebook (2019)

â&#x20AC;&#x153;My main aim will be to unite the two media as a response to the Print vs Digital debate.â&#x20AC;?

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Weltformat App The Weltformat App was designed and built by Milk Interactive, a design studio based in Switzerland. Their team combines both designers and software engineers. The app was created in 2018 to be used at the Weltformat Graphic Design Festival, winning multiple awards such as the Gold award at the European Design Awards. The studio worked on a virtual exhibition where they curated posters, for example, from collections features at museums, and used Augmented Reality to bring them to life. In comparison to my own AR poster, the studio did not use small elements of AR on the poster but animated the whole design which created an exciting experience for their visitors. Not only did the studio create the app to bring posters to life, but it served as a guide for the festival and provided helpful information for visitors, such as maps. In conclusion, looking at AR in the industry has shown that it is able to provide experiences for audiences, creating more engagement and interest around the printed poster. The app was used again for the 2019 Weltformat Festival, giving the impression that it was a success and played a â&#x20AC;&#x2DC;crucial roleâ&#x20AC;&#x2122; (Weltformat Festival, 2019) in engaging audiences at the design festival. Therefore, using AR for my own outcome will help me in providing an experience for my audience and create interest around print design.

Right: Fig 163. Weltformat App 1 (2018) Fig 164. Weltformat App 2 (2018)

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Critical Reflection

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Bibliography

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Calendar Planning

Fig 165. January (2020)

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Fig 166. February (2020)

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Fig 167. March (2020)

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Fig 168. April/May (2020)

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Rationale The aim of my FMP was to publish my Dissertation as an A0 poster, exploring the idea of Augmented Reality from my Dissertation through Editorial Design, the area I would like to work in. It aimed to demonstrate how AR can impact an audienceâ&#x20AC;&#x2122;s attitudes towards a printed medium through the addition of digital interaction and therefore act as a response to the Print vs Digital debate and take the main themes discussed in the Dissertation to explore the in between niche of digital elements placed in a printed medium. My personal aims included producing an outcome to an industry standard, experimenting with designs to push myself outside my comfort zone and using my research to guide the design process. Throughout the project I have experimented with layout designs, putting a focus on the design development, especially with my poster. I found starting the process by designing small sections of the poster and constant development from feedback helped me to show my editorial skills at a higher standard and pushed me to create a final design I would be happy to put in my portfolio. In addition, I have enjoyed creating a consistent layout for my research book which I am able to situate alongside my poster with similar design aspects such as bitmapped photos and dashed strokes. However, I have been able to differentiate them in terms of the colours and overall composition to keep the two designs interesting. I believe the research book allowed for me to show all the editorial skills I have learnt so far and encouraged me to keep working on skills such as typesetting. Moreover, I feel successful in the design decisions I made in terms of having a rationale for what my intentions were with the designs, for example the scaling of the titles on the poster to reflect the key parts written in the Dissertation.

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I understood and analysed this more when I was writing my Critical Reflection alongside the project. This allowed me to gain more knowledge on my own design practice, understanding the influences on my final outcome, which I had explored during the process of creating my research book. Furthermore, I chose to use After Effects as the software to create my AR animations as this is becoming a core software to learn in the industry, therefore using it allowed me learn more by experimenting with more complicated tools to create animations such as the paper rip on my images. However, I found Artivive to be slightly limiting in what I wanted to achieve with my FMP. For example, the colours of my images within the poster depended on what Artivive could recognise. This ruled out any darker colours being used. Moreover, I found the typewriter animations to be unsuccessful as they became laggy when uploaded to Artivive, which they were not able to fix. However, with these animations, I achieved the intentions of combining print techniques with the digital space yet keeping a sophisticated look to fit into the industry. In conclusion, I believe I was successful in achieving my overall aims with the project while effectively managing my time. I was able to plan my time throughout the project by using to-do lists and a calendar to lay out upcoming tasks and set myself deadlines. To improve further on my project, I would like to research and experiment with different AR software to solve current problems and achieve my desired outcome. I would also like to print my A0 poster which would portray my aims of combining digital and print mediums more clearly.

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Critical Reflection The Critical Reflection essay was completed alongside this project. This section of the essay discusses my aims in the project surrounding the Print vs Digital debate, and contextualises my project alongside the design industry today.

This Critical Reflection will situate and interpret my Final Major Project, analysing it in relation to the context of my dissertation: “Discussing the Impact of Augmented Reality on L'Oréal’s Advertising”, which explored AR through Branding. The dissertation will be publicised as a printed A0 poster and includes elements of Augmented Reality in the form of images and text, such as pull out quotes, that can be scanned using the Artivive app to reveal an animation. The project takes the main sections of the Dissertation: technology, audience and interaction, to the Editorial side of Graphic Design, focusing on the Print vs Digital debate and how the digital space is constantly impacting print. I was interested in exploring these ideas through my FMP as they have become increasingly relevant in the design industry and I am personally interested in responding to the idea by utilising both mediums to show a connection rather than viewing them as separate entities. I will situate the project by discussing the ongoing debate surrounding Print vs Digital design, focusing on a modern perspective and how my poster integrates the digital space into a printed publication with the use of AR technology to respond. This will focus on key texts from Ludovico and an interview with Jeremy Leslie of magCulture. I believe it is important to look at the new and old stances on the Print vs Digital debate to give an understanding on my influences for the project in terms of how I have made specific design choices to be considered as a relevant response to the debate alongside modern opinions in the industry. 181

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Creating a response to the debate, I interviewed Jeremy Leslie, the Founder and Creative Director of magCulture, a studio and magazine store. This was important in gaining an understanding of how the debate has changed from an industry point of view. As someone who has designed for both digital and print, and written books/ articles surrounding the idea of the debate, I found Jeremy Leslie a good person to contact for my research. In Post-Digital Print, Ludovico writes that print and digital design ‘have always been two more or less separate worlds’ (2012:94). With this in mind, I found Jeremy Leslie’s ideas relevant in contextualising my design processes for the project as his philosophy takes on a modern perspective to the debate, explaining that the two media are ‘already being briefly seen as together’ (Leslie, 2020), in contrast to Ludovico’s discussion. Within the debate, the term “Print is dead” has been continuously mentioned throughout media articles and spoken by designers as a way of declaring print design as obsolete. Ludovico discusses this being a strong theory within a younger generation, writing that this particular age group are starting to perceive ‘everything outside the digital environment’ (2012:109) as ‘outdated or irrelevant’ (Ludovico, 2012:109). As my FMP targets young designers, it could be recognised as a way of encouraging the younger generation to interact with print design especially as AR ‘is a technology addressing a mainly younger generation of consumers’ (Oľga, 2018:62). Therefore, this links the two media as a way of showing relevant design can be created through print, as I aim to respond to the “Print is dead” theory. Furthermore, Jeremy Leslie discusses the idea that printed media is ‘far more able to have a variety and variation within quite complex pieces’ (Leslie, 2020), whereas ‘online, everything tends to be very much the same’ (Leslie, 2020). Thus, print design is able to evolve editorially, keeping the design itself from becoming irrelevant and outdated. In terms of my final outcome, the design takes influence from contemporary design styles, such as editorial spreads in Grafik Magazine, targeting the younger generation who are more likely to become engaged by new and innovative design.

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Jeremy Leslie speaks about how the digital space ‘has encouraged people to develop their own editorial voices/ styles and it’s given them the confidence in what they are trying to communicate’ (2020). This particular quote links back to the idea of Brody stating he could be more experimental

Conclusion

when working for The Face magazine. Thus, these two sections share a link which further contextualises my project in the sense of showing a connection between my response to the debate, specifically how digital has pushed me to think about particular design decisions for print, and my editorial style. It shows my main aims are to portray the idea that ‘the traditional role of print is unmistakeably being threatened; but it is also, paradoxically, being revitalised’ (Ludovico, 2012:7) through understanding the connections between both mediums. Moreover, Ludovico states that ‘paper and pixel compliment each other, even as they compete with one another’ (2012:117). Looking towards a more recent perspective on the debate, Jeremy Leslie explains that the two mediums are ‘much tighter than they ever have been’ (2020) and that designs should take what both are good at and then take advantage ‘rather than trying to squeeze one into another’ (Leslie, 2020). This idea became an influence for my FMP and encouraged me to think about how I was utilizing both mediums rather than trying to push them together. For example, when researching for digital and print combinations in the industry, I came across a newspaper project called “Things Our Friends Have Written On The Internet”, where the designers collected digital articles and printed them in newspaper format. The articles incorporated digital elements such as hyperlinks, which could give the impression of print design blocking the digital as a result of them no longer working. Therefore, this could be perceived as trying to squeeze the two mediums together, an idea I have aimed to avoid within my FMP as my overall intentions are to show a successful connection between the both.

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My FMP uses QR codes and AR, which both become interactive within the printed publication. Ludovico writes ‘currently, the industry’s main post-digital print entertainment effort is QR code’ (2012:155). My poster adds a modern progression from this, incorporating new technology to encourage interaction from the younger generation as it feeds their ‘need for novelty and change’ (Leslie, 2020). This is important in showing my aims to situate my project within a modern design space. Therefore, my FMP utilises these digital advantages alongside the advantages of print, including the idea of it being ‘such a different experience to reading or experiencing material on a screen’ (Leslie, 2020), where the ‘paper involves most of our senses’ (Ludovico, 2012:113) and gives the audience complete control ‘which is ultimately far more satisfying and far

Conclusion

more engaging’ (Leslie, 2020). Thus, showing there is ‘more cross pollination between print and digital than there ever has been’ (Leslie, 2020), helping to convey my intention of creating meaning through the combination of styles and mediums.

Fig.1. Weltformat App. (2019)

Furthermore, ‘the unchangeable, static nature of the printed medium has always been the main justification for declaring it obsolete’ (Ludovico, 2012:9). My FMP aims to respond to this idea by creating movement in the form of AR within print. Elaborating on Jeremy Leslie’s idea of feeding a need for novelty, research from my Dissertation showed that audiences are far more interested in novelty design and this is a successful way in encouraging engagement and interaction in the short term, especially as AR has been shown to be ‘repeatedly and significantly more engaging than 2D and video’ (Vertebrae, 2019:11).

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Regarding interaction and engagement, I can contextualise my FMP alongside the Weltformat App, designed by Milk Interactive for the Weltformat Design Festival in Switzerland (see fig 1.). The app allowed visitors to interact with AR within their festival posters, with the festival writing that the app ‘plays a crucial role’ (Weltformat Festival, 2019) as part of the day, highlighting the success of the AR posters. This shows that audiences ‘will only become engaged if the consumer has the opportunity to interact’ (Bassary, 2009:185), implying my intentions of using AR to create interaction for my target audience as ‘relationship marketing is

Conclusion

all about interaction and activities’ (Kumra, 2006:320), which both my FMP and the Weltformat app share in objectives.

Fig.2. AR Animation. (2020)

In terms of my animations, I have taken on the idea of using print techniques as a way of intertwining the two media ‘to simultaneously inform and deconstruct each other, to connect and form new visual languages’ (Simonato, 2003:164). For example, I have used a paper rip animation for one of my images to display the “half-half” strategy discussed in my Dissertation under the Visual Techniques section (see fig.2). Thus, my animations can be perceived as dependent on the context of the Dissertation. Jeremy Leslie explains that ‘the two forms are always going to live together and feed each other rather than beat each other up’ (2020). My animations are an extension of this idea and continue to follow the concept of uniting the two media by ‘combining the best standards and interfaces of both digital and print’ (Ludovico, 2012:156). I believe this is relevant in understanding my intentions for the project, to show the design decisions I have undertaken which aim to create a stable link between both mediums in a way that can be interpreted in the industry today and are relevant to my own project.

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In conclusion, my FMP aims to respond to the Print vs Digital debate by taking the advantages of both digital and print and intertwining them to create design that makes ‘use of various new and old media without the burden of ideological affiliation to any particular one of them’ (Ludovico, 2012:156). It highlights the importance of engaging an audience with interaction, and when compared alongside designs in the industry, shows this can be successful when using AR, especially within a younger audience. The poster can be perceived as taking a modern approach to

Conclusion

responding to the debate, acknowledging that the two mediums are not as separate as they were before, putting a focus on continuing the idea of cross pollination between the two. This shows my aims of creating design which is suited to interpretation within a modern audience, and therefore, my design choices can be understood alongside this context, outlining the processes I have used to communicate my intentions throughout the project.

Illustrations: Fig 1. Weltformat Festival. (2019) Weltformat App. [Photograph] At: https://weltformat-festival.ch/en/2019/exhibitions/ maximage (Accessed 08/04/20) Fig 2. Georgiou, A. (2020) AR Animation [Screenshot, InDesign] In possession of: Alana Georgiou: Farnham Bibliography: Bassary, J. (2009) ‘Advertising And New Media’ In: Powell, H. (ed.) Marketing In The Digital Era. London: Routledge. pp.174–186. Kumra, R. (2006) Consumer Behaviour. Mumbai: Global Media. Leslie, J. (2020) Interviewed by Alana Georgiou (On 03/03/20) Ludovico, A. (2013) Post-Digital Print: The Mutation Of Publishing Since 1894. (2nd ed.) Eindhoven: Onomatopee. Oľga, C. (2018) ‘Media And Digital Marketing’ In: Baciková, Z. (ed.) Marketing In The Digital Era. Berlin: Peter Lang. pp 39-70. Simonato, A. (2003) ‘Lead Me’ In: Leslie, J. (ed.) magCulture: New Magazine Design. London: Laurence King. pp.22–25. Vertebrae (2019) Immersive Vs Traditional Media: How Interactivity & Realism Influence Persuasion. At: https://www.initiate-inc. com/uploads/6/0/6/5/60653103/vertebrae_immersivemedia_wp2019.pdf (Accessed 27/03/20)

Weltformat Festival (2019) 2019: Tools & Rules. At: https://weltformat-festival.ch/en/2019 (Accessed 29/02/2020).

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Bibliography Images: Fig 1. People Of Print (2015) Posterzine 1. [Image] At: www.peopleofprint.com/pop/posterzine/#more-40092 (Accessed 02/01/20)

Fig 2. People Of Print. (2015) Posterzine 2. [Image] At: www.peopleofprint.com/pop/posterzine/#more-40092 (Accessed 02/01/20) Fig 3. People Of Print. (2015) Posterzine 3. [Image] At: www.peopleofprint.com/pop/posterzine/#more-40092 (Accessed 02/01/20) Fig 4. Giboin, J. (s.d) Ritual Book Series 1. [Image] At: www.jessicagiboin.com/ritual-book-series (Accessed 02/01/20) Fig 5. Giboin, J. (s.d) Ritual Book Series 2. [Image] At: www.jessicagiboin.com/ritual-book-series (Accessed 02/01/20) Fig 6. Giboin, J. (s.d) Ritual Book Series 3. [Image] At: www.jessicagiboin.com/ritual-book-series (Accessed 02/01/20) Fig 7. Giboin, J. (s.d) Ritual Book Series 4. [Image] At: www.jessicagiboin.com/ritual-book-series (Accessed 02/01/20) Fig 8. Pentagram. (2017) Dance Ink 1. [Image] At: www.pentagram.com/work/dance-ink-vol-8-no2?rel=discipline&rel-id=10 (Accessed 02/01/20) Fig 9. Pentagram. (2017) Dance Ink 2. [Image] At: www.pentagram.com/work/dance-ink-vol-8-no2?rel=discipline&rel-id=10 (Accessed 02/01/20) Fig 10. off_white. (2020). @ off____white Instagram Post 1. [Instagram, screenshot] At: www.instagram.com/p/B8J_ WUkh0eZ/ (Accessed 02/01/20) Fig 11. off_white. (2020). @ off____white Instagram Post 2. [Instagram, screenshot] At: www.instagram.com/p/ B8PPTSVh_3R/ (Accessed 02/01/20)

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Fig 12. off_white. (2020). @ off____white Instagram Post 3. [Instagram, screenshot] At: www.instagram.com/p/ B7CNDAnBkb3/ (Accessed 02/01/20)

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Fig 13. off_white. (2019). @ off____white Instagram Post 4. [Instagram, screenshot] At: www.instagram.com/p/ B50hyDTBLcI/ (Accessed 02/01/20) Fig 14. Georgiou, A. (2020) Grafik 2008. [Photograph of Magazine] In possession of: Alana Georgiou: Farnham Fig 15. Georgiou, A. (2020) Grafik 2007. [Photograph of Magazine] In possession of: Alana Georgiou: Farnham Fig 16. Georgiou, A. (2020) Grafik 2006. [Photograph of Magazine] In possession of: Alana Georgiou: Farnham Fig 17. Georgiou, A. (2020). Physical Interfaces 1. [Photograph] In possession of: Alana Georgiou: Farnham Fig 18. Georgiou, A. (2020). Physical Interfaces 2. [Photograph] In possession of: Alana Georgiou: Farnham Fig 19. Georgiou, A. (2020). Physical Interfaces 3. [Photograph] In possession of: Alana Georgiou: Farnham Fig 20. Georgiou, A. (2020). Editorial Workshop. [Photograph] In possession of: Alana Georgiou: Farnham Fig 21. Georgiou, A. (2020). First Layout 1. [Photograph] In possession of: Alana Georgiou: Farnham Fig 22. Georgiou, A. (2020). First Layout 2. [Photograph] In possession of: Alana Georgiou: Farnham Fig 23. Georgiou, A. (2020). Chosen Layout. [Photograph] In possession of: Alana Georgiou: Farnham Fig 24. Georgiou, A. (2020). Second Layout. [Photograph] In possession of: Alana Georgiou: Farnham Fig 25. Georgiou, A. (2020). Given Layout. [Photograph] In possession of: Alana Georgiou: Farnham Fig 26. Georgiou, A. (2020). Third Layout. [Photograph] In possession of: Alana Georgiou: Farnham 188

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Fig 27. Georgiou, A. (2020). Digital Layout 1. [Photograph] In possession of: Alana Georgiou: Farnham Fig 28. Georgiou, A. (2020). Digital Layout 2. [Photograph] In possession of: Alana Georgiou: Farnham Fig 29. Georgiou, A. (2020). Digital Layout 3. [Photograph] In possession of: Alana Georgiou: Farnham Fig 30. Georgiou, A. (2020). 5-Column Grid. [Scanned Image] In possession of: Alana Georgiou: Farnham Fig 31. Georgiou, A. (2020). 9-Column Grid. [Scanned Image] In possession of: Alana Georgiou: Farnham Fig 32. Georgiou, A. (2020). 11-Column Grid. [Scanned Image] In possession of: Alana Georgiou: Farnham Fig 33. Georgiou, A. (2020). Contents Page Sheet. [Photograph] In possession of: Alana Georgiou: Farnham Fig 34. Georgiou, A. (2020). Pagination Plan. [Photograph] In possession of: Alana Georgiou: Farnham Fig 35. Georgiou, A. (2020). Innovation Thinking. [Photograph] In possession of: Alana Georgiou: Farnham Fig 36. Georgiou, A. (2020). Six Thinking Hats. [Photograph] In possession of: Alana Georgiou: Farnham Fig 37. Georgiou, A. (2020). Innovation Thinking Workshop. [Photograph] In possession of: Alana Georgiou: Farnham Fig 38. Georgiou, A. (2020). After Effects 1 . [Photograph] In possession of: Alana Georgiou: Farnham Fig 39. Georgiou, A. (2020). Kinetic Type. [After Effects, Screenshot] In possession of: Alana Georgiou: Farnham Fig 40. Georgiou, A. (2020). Circle Burst. [After Effects, Screenshot] In possession of: Alana Georgiou: Farnham Fig 41. Georgiou, A. (2020). Line Burst. [After Effects, Screenshot] In possession of: Alana Georgiou: Farnham Fig 42. Georgiou, A. (2020). Poly Burst. [After Effects, Screenshot] In possession of: Alana Georgiou: Farnham Fig 43. Georgiou, A. (2020). Repeater. [After Effects, Screenshot] In possession of: Alana Georgiou: Farnham Fig 44. Georgiou, A. (2020). Foiling. [Scanned Image] In possession of: Alana Georgiou: Farnham

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Fig 45. Georgiou, A. (2020). Off White Foiling. [Scanned Image] In possession of: Alana Georgiou: Farnham

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Fig 46. Georgiou, A. (2020). Foiling and Flocking. [Scanned Image] In possession of: Alana Georgiou: Farnham Fig 47. Georgiou, A. (2020). Flock and Foil Workshop 1. [Photograph] In possession of: Alana Georgiou: Farnham Fig 48. Georgiou, A. (2020). Flock and Foil Workshop 2. [Photograph] In possession of: Alana Georgiou: Farnham Fig 49. Georgiou, A. (2020). Flock and Foil Workshop 3. [Photograph] In possession of: Alana Georgiou: Farnham Fig 50. Georgiou, A. (2020). Flock and Foil Workshop 4. [Photograph] In possession of: Alana Georgiou: Farnham Fig 51. Georgiou, A. (2020). Flock and Foil Workshop 5. [Photograph] In possession of: Alana Georgiou: Farnham Fig 52. Georgiou, A. (2020). Flock and Foil Workshop 6. [Photograph] In possession of: Alana Georgiou: Farnham Fig 53. Georgiou, A. (2020). Flock and Foil Workshop 7. [Photograph] In possession of: Alana Georgiou: Farnham Fig 54. The London Gazette. (1687) The London Gazette. [Newspaper] At: www.mullocksauctions.co.uk/lot-6947491684_1687_london_gazette_newspapers_published.html?p=46 (Accessed 24/01/20) Fig 55. William Caslon. (1728) Type Specimen Sheet. [Image] At: en.wikipedia.org/wiki/William_Caslon (Accessed 24/01/20) Fig 56. The Penny Magazine. (1838) The Penny Magazine. [Newspaper] At: www.antiqbook.com/books/bookinfo. phtml?nr=1472085662&l=en&seller=cosmo9 (Accessed 24/01/20) Fig 57. Aubrey Beardsley. (1893) The Studio. [Magazine Cover] At: en.wikipedia.org/wiki/The_Studio_(magazine) (Accessed 24/01/20) Fig 58. Joost Schmidt. (1923) Bauhaus Exhibition. [Poster] At: magazine.artland.com/bauhaus100-exhibitionhighlights-2019/ (Accessed 24/01/20) Fig 59. Jamie Reid. (1977) Sex Pistols. [Album Cover] At: michel.tabanou.over-blog.com/2014/07/jamie-reid-un-graphismequi-demenage.html (Accessed 24/01/20) Fig 60. frieze. (2014) Issue 166. [Magazine Cover] At: shopcc.frieze.com/products/october-2014-issue-166 (Accessed 01/02/20)

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Fig 61. Georgiou, A. (2020) Art Review 2012Issue 60 1. [Photograph of Magazine] In possession of: Alana Georgiou: Farnham

Conclusion

Fig 62. Georgiou, A. (2020) Art Review 2012Issue 60 2. [Photograph of Magazine] In possession of: Alana Georgiou: Farnham Fig 63. Georgiou, A. (2020) Art Review 2011- April 1. [Photograph of Magazine] In possession of: Alana Georgiou: Farnham Fig 64. Georgiou, A. (2020) Art Review 2011- April 2. [Photograph of Magazine] In possession of: Alana Georgiou: Farnham Fig 65. Georgiou, A. (2020) Bloom July 2014 1. [Photograph of Magazine] In possession of: Alana Georgiou: Farnham Fig 66. Georgiou, A. (2020) Bloom July 2014 2. [Photograph of Magazine] In possession of: Alana Georgiou: Farnham Fig 67. Georgiou, A. (2020) Bloom July 2014 3. [Photograph of Magazine] In possession of: Alana Georgiou: Farnham Fig 68. Georgiou, A. (2020) Bloom July 2014 4. [Photograph of Magazine] In possession of: Alana Georgiou: Farnham Fig 69. Georgiou, A. (2020) Form 2019- N.284 1. [Photograph of Magazine] In possession of: Alana Georgiou: Farnham Fig 70. Georgiou, A. (2020) Form 2019- N.284 2. [Photograph of Magazine] In possession of: Alana Georgiou: Farnham Fig 71. Georgiou, A. (2020) Baseline 2008- Issue 55. [Photograph of Magazine] In possession of: Alana Georgiou: Farnham Fig 72. Georgiou, A. (2020) Edge 2018- Issue 325 1. [Photograph of Magazine] In possession of: Alana Georgiou: Farnham Fig 73. Georgiou, A. (2020) Edge 2018- Issue 325 2. [Photograph of Magazine] In possession of: Alana Georgiou: Farnham Fig 74. Georgiou, A. (2020) Eye 2011- Issue 81. [Photograph of Magazine] In possession of: Alana Georgiou: Farnham Fig 75. Georgiou, A. (2020) Eye 2013- Issue 85. [Photograph of Magazine] In possession of: Alana Georgiou: Farnham Fig 76. Georgiou, A. (2020) I-D 2013- Issue 327 1. [Photograph of Magazine] In possession of: Alana Georgiou: Farnham Fig 77. Georgiou, A. (2020) I-D 2013- Issue 327 2. [Photograph of Magazine] In possession of: Alana Georgiou: Farnham Fig 78. Brockmann, JM. (1957) Juni-Festwochen ZÃ¼rich. [Poster] At: www.grapheine.com/en/history-of-graphic-design/ graphic-designer-muller-brockmann-swiss-style (Accessed 11/03/20) Fig 79. Georgiou, A. (2020) magCulture 1. [Photograph] In possession of: Alana Georgiou: London

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Fig 80. Georgiou, A. (2020) magCulture 2. [Photograph] In possession of: Alana Georgiou: London Fig 81. Georgiou, A. (2020) magCulture 3. [Photograph] In possession of: Alana Georgiou: London Fig 82. Georgiou, A. (2020) magCulture 4. [Photograph] In possession of: Alana Georgiou: London Fig 83. Georgiou, A. (2020) magCulture 5. [Photograph] In possession of: Alana Georgiou: London Fig 84. Georgiou, A. (2020) magCulture 6. [Photograph] In possession of: Alana Georgiou: London Fig 85. Georgiou, A. (2020) magCulture 7. [Photograph] In possession of: Alana Georgiou: London Fig 86. Georgiou, A. (2020) magCulture 8. [Photograph] In possession of: Alana Georgiou: London Fig 87. Georgiou, A. (2020) magCulture 9. [Photograph] In possession of: Alana Georgiou: London Fig 88. Georgiou, A. (2020) magCulture 10. [Photograph] In possession of: Alana Georgiou: London Fig 89. Something Curated. (2017) magCulture Shop. [Photograph] At: somethingcurated.com/2017/09/22/interviewjeremy-leslie-magculture/ (Accessed 03/03/20) Fig 90. Georgiou, A. (2020) Magma 1. [Photograph of Magazine] In possession of: Alana Georgiou: London Fig 91. Georgiou, A. (2020) Magma 2. [Photograph of Magazine] In possession of: Alana Georgiou: London Fig 92. Georgiou, A. (2020) Magma 3. [Photograph of Magazine] In possession of: Alana Georgiou: London Fig 93. Georgiou, A. (2020) Magma 4. [Photograph of Magazine] In possession of: Alana Georgiou: London Fig 94. Georgiou, A. (2020) Magma 5. [Photograph of Magazine] In possession of: Alana Georgiou: London Fig 95. Georgiou, A. (2020) Magma 6. [Photograph of Magazine] In possession of: Alana Georgiou: London Fig 96. Georgiou, A. (2020) Garment Magazine 1. [Photograph of Magazine] In possession of: Alana Georgiou: London Fig 97. Georgiou, A. (2020) Garment Magazine 2. [Photograph of Magazine] In possession of: Alana Georgiou: London

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Fig 98. Georgiou, A. (2020) Garment Magazine 3. [Photograph of Magazine] In possession of: Alana Georgiou: London

Conclusion

Fig 99. Georgiou, A. (2020) Garment Magazine 4. [Photograph of Magazine] In possession of: Alana Georgiou: London Fig 100. Georgiou, A. (2020) Garment Magazine 5. [Photograph of Magazine] In possession of: Alana Georgiou: London Fig 101. Georgiou, A. (2020) Garment Magazine 6. [Photograph of Magazine] In possession of: Alana Georgiou: London Fig 102. Georgiou, A. (2020) Garment Magazine 7. [Photograph of Magazine] In possession of: Alana Georgiou: London Fig 103. Georgiou, A. (2020) Skinny Dip. [Photograph] In possession of: Alana Georgiou: London Fig 104. Georgiou, A. (2020) They Made This. [Photograph] In possession of: Alana Georgiou: London Fig 105. Georgiou, A. (2020) Jimmy Turrell. [Photograph] In possession of: Alana Georgiou: London Fig 106. Dawson, M. (s.d) John Milton Series 1. [Image] At: markjdawson.com/books/john-milton-series/ (Accessed 22/01/20) Fig 107. Dawson, M. (s.d) John Milton Series 2. [Image] At: markjdawson.com/books/john-milton-series/ (Accessed 22/01/20) Fig 108. Wong, S. (2012) Ingenuity Nature. [Photograph] At: www.anothermountainman.com/personal-work/ ingenuity-nature/?filter=cultural-poster#/13 (Accessed 29/01/20) Fig 109. Bureau Rabensteiner. (2012) N. Daniels 1. [Photograph] At: www.behance.net/gallery/4413785/N-Daniels (Accessed 29/01/20) Fig 110. Bureau Rabensteiner. (2012) N. Daniels 2. [Photograph] At: www.behance.net/gallery/4413785/N-Daniels (Accessed 29/01/20) Fig 111. Bureau Rabensteiner. (2012) N. Daniels 3. [Photograph] At: www.behance.net/gallery/4413785/N-Daniels (Accessed 29/01/20) Fig 112. Bruketa & Zinic OM. (2012) In Good Hands 1. [Photograph] At: bruketa-zinic.com/2012/09/05/a-book-thatgrows-green-in-your-hands/ (Accessed 29/01/20) Fig 113. Bruketa & Zinic OM. (2012) In Good Hands 2. [Photograph] At: bruketa-zinic.com/2012/09/05/a-book-thatgrows-green-in-your-hands/ (Accessed 29/01/20) Fig 114. Brody, N. (1992) FF Blur. [Image] At: www.moma.org/collection/works/139325 (Accessed 31/01/20)

193

Conclusion

Fig 115. Brody, N. (s.d) Fuse 1. [Poster] At: typographica.org/typography-books/fuse-1-20/ (Accessed 31/01/20) Fig 116. Brody, N. (s.d) Fuse 2. [Poster] At: typographica.org/typography-books/fuse-1-20/ (Accessed 31/01/20) Fig 117. Emigre. (1992) Emigre #24. [Magazine Cover] At: typographica.org/typography-books/fuse-1-20/ (Accessed 31/01/20) Fig 118. Emigre. (2005) Emigre #69. [Magazine Cover] At: www.emigre.com/Magazine/69 (Accessed 31/01/20) Fig 119. Warner, R. (2018) Ripple. [Animated Poster Still] At: www.behance.net/gallery/71745989/Kinetic-TypographyCase-Study-01 (Accessed 17/02/20) Fig 120. Fournas, T. (2014) From Paper To Screen 1 [Vimeo, screenshot] At: vimeo.com/69375692/ (Accessed 17/02/20) Fig 121. Fournas, T. (2014) From Paper To Screen 2 [Vimeo, screenshot] At: vimeo.com/69375692/ (Accessed 17/02/20) Fig 122. Fournas, T. (2014) From Paper To Screen 3 [Vimeo, screenshot] At: vimeo.com/69375692/ (Accessed 17/02/20) Fig 123. Terrett, B. (2009) Tweets. [Photograph] At: noisydecentgraphics.typepad.com/design/2009/01/things-ourfriends-have-written-on-the-internet-2008-is-a-publication-thats-beendropping-through-letter-boxes-over-the-last.html (Accessed 22/01/20) Fig 124. Terrett, B. (2009) Header Tweets. [Photograph] At: noisydecentgraphics.typepad.com/design/2009/01/things-ourfriends-have-written-on-the-internet-2008-is-a-publication-thats-beendropping-through-letter-boxes-over-the-last.html (Accessed 22/01/20) Fig 125. Terrett, B. (2009) Hyperlinks. [Photograph] At: noisydecentgraphics.typepad.com/design/2009/01/things-ourfriends-have-written-on-the-internet-2008-is-a-publication-thats-beendropping-through-letter-boxes-over-the-last.html (Accessed 22/01/20) Fig 126. scribbletaylor. (2009) TOFHWOTI. At: www.flickr.com/photos/64958688@N00/3317377558/ (Accessed 22/01/20) Fig 127. Whitechapel Gallery. (1911) ’House and Home’. [Poster] In: Vaughan, H. Graphic Century. London: Whitechapel Gallery. Fig 128. Whitechapel Gallery. (1903) ’Shipping Exhibition’. [Poster] In: Vaughan, H. Graphic Century. London: Whitechapel Gallery.

194

Conclusion

Fig 129. Johnson, Riddle & Company. (1915) ’Design and Workmanship in Printing’. [Poster] In: Vaughan, H. Graphic Century. London: Whitechapel Gallery. Fig 130. Baynard Press. (1949) ‘East End Story’. [Poster] In: Vaughan, H. Graphic Century. London: Whitechapel Gallery. Fig 131. Shenval Press. (1951) ’East End Academy’. [Poster] In: Vaughan, H. Graphic Century. London: Whitechapel Gallery. Fig 132. Jackson, S. (1956) ’This Is Tomorrow 1’. [Poster] In: Vaughan, H. Graphic Century. London: Whitechapel Gallery. Fig 133. Henderson, N. (1956) ’This Is Tomorrow 2’. [Poster] In: Vaughan, H. Graphic Century. London: Whitechapel Gallery. Fig 134. Whitechapel Gallery. (1956) ’This Is Tomorrow 3’. [Poster] In: Vaughan, H. Graphic Century. London: Whitechapel Gallery. Fig 135. Martin, K. (1956) ’This Is Tomorrow 4’. [Poster] In: Vaughan, H. Graphic Century. London: Whitechapel Gallery. Fig 136. Hollis, R. (1981) ’Brice Marden’. [Poster] In: Vaughan, H. Graphic Century. London: Whitechapel Gallery. Fig 137. Carroll, Dempsey & Thirkell. (1992) ’Cindy Sherman’. [Poster] In: Vaughan, H. Graphic Century. London: Whitechapel Gallery. Fig 138. O-SB (2006) ’David Adjaye’. [Poster] In: Vaughan, H. Graphic Century. London: Whitechapel Gallery. Fig 139. Zeka Design. (2020) Seventies. [Poster] At: www.zekagraphic.com/portfolio/seventies/ (Accessed 04/02/20) Fig 140. Zeka Design. (2020) People 3. [Poster] At: www.zekagraphic.com/portfolio/people-3/ (Accessed 04/02/20) Fig 141. Zeka Design. (2020) Deconstruction. [Poster] At: www.zekagraphic.com/portfolio/deconstruction/ (Accessed 04/02/20) Fig 142. Sanocki and Sulman. (2011) Four Trials. [Image] At: visualperceptionblog.wordpress.com/2017/03/26/colorrelations-and-memory/ (Accessed 05/02/20) Fig 143. McQuade, M. (s.d) Labeling Students As AntiSemitic. [Image] At: mikemcquade.com/ (Accessed 05/02/20) Fig 144. McQuade, M. (s.d) Decoding Human Intelligence. [Image] At: mikemcquade.com/ (Accessed 05/02/20) Fig 145. McQuade, M. (s.d) Medical Identity Theft. [Image] At: mikemcquade.com/ (Accessed 05/02/20)

195

Conclusion

Fig 146. Larson and Picard. (2005) Good Typography. [Image] At: affect.media.mit.edu/pdfs/05.larson-picard. pdf/ (Accessed 05/02/20) Fig 147. Larson and Picard. (2005) Bad Typography. [Image] At: affect.media.mit.edu/pdfs/05.larson-picard.pdf/ (Accessed 05/02/20) Fig 148. Holo Magazine. (2016) Holo 1. [Photograph] At: www.creativeapplications.net/holo/ (Accessed 05/02/20) Fig 149. Holo Magazine. (2016) Holo 2. [Photograph] At: www.creativeapplications.net/holo/ (Accessed 05/02/20) Fig 150. Holo Magazine. (2016) Holo 3. [Photograph] At: www.creativeapplications.net/holo/ (Accessed 05/02/20) Fig 151. Holo Magazine. (2016) Holo 4. [Photograph] At: www.creativeapplications.net/holo/holo-2-the-future-is-out-now/ (Accessed 05/02/20) Fig 152. Georgiou, A. (2020) Observation Notes. [Photograph] In possession of: Alana Georgiou: London Fig 153. Georgiou, A. (2020) 24/7 Exhibition 1. [Photograph] In possession of: Alana Georgiou: London Fig 154. Georgiou, A. (2020) 24/7 Exhibition 2. [Photograph] In possession of: Alana Georgiou: London Fig 155. Georgiou, A. (2020) 24/7 Exhibition 3. [Photograph] In possession of: Alana Georgiou: London Fig 156. Georgiou, A. (2020) Observation 1. [Photograph] In possession of: Alana Georgiou: London Fig 157. Georgiou, A. (2020) Observation 2. [Photograph] In possession of: Alana Georgiou: London Fig 158. Georgiou, A. (2020) Observation 3. [Photograph] In possession of: Alana Georgiou: London Fig 159. Georgiou, A. (2020) Observation 4. [Photograph] In possession of: Alana Georgiou: London Fig 160. Georgiou, A. (2020) Observation 5. [Photograph] In possession of: Alana Georgiou: London Fig 161. Georgiou, A. (2020) Observation 6. [Photograph] In possession of: Alana Georgiou: London Fig 162. Rahman, N. (2019) Madame Tussauds AR Guidebook. [Vimeo, screenshot] At: vimeo.com/300771410 (Accessed 25/02/20)

196

Conclusion

Fig 163. Milk Interactive. (2018) Weltformat App 1. [Image] At: europeandesign.org/submissions/weltformat-app/ (Accessed 28/02/20) Fig 164. Milk Interactive. (2018) Weltformat App 2. [Image] At: europeandesign.org/submissions/weltformat-app/ (Accessed 28/02/20) Fig 165. Georgiou, A. (2020) January. [Scanned Image] In possession of: Alana Georgiou: Farnham Fig 166. Georgiou, A. (2020) February. [Scanned Image] In possession of: Alana Georgiou: Farnham Fig 167. Georgiou, A. (2020) March. [Scanned Image] In possession of: Alana Georgiou: Farnham Fig 168. Georgiou, A. (2020) April/May. [Scanned Image] In possession of: Alana Georgiou: Farnham

Research: Brody, N. W. (2011) FUSE 1-20 From Invention to Antimatter: Twenty Years of FUSE. London: Taschen. Caldwell, C. and Zappaterra, Y. (2014) Editorial Design: Digital and Print. London: Laurence King Publishing. Conrad, D. (2015) ‘Foreword’ In: viction:ary (ed.) Print Matters: The Cutting Edge of Print. North Point, Hong Kong. pp.7-8. Dawson, M. (s.d.) About. At: selfpublishingformula. com/about/ (Accessed 22/01/2020). Drucker, J. and McVarish, E. (2008) Graphic Design History: A Critical Guide. Upple Saddle River: Pearson Prentice Hall. European Design Awards (2018) Weltformat App. At: europeandesign.org/submissions/weltformat-app/ (Accessed 28/02/2020). Flood, A. (2011) ‘How Self-Publishing Came of Age’ In: The Guardian. At: www.theguardian.com/books/2011/jun/24/ self-publishing (Accessed 22/01/2020). Foges, C. (1999) Magazine Design. Crans-Pres-Ceĺigny, Switzerland: RotoVision. Galaroza, A. (2017) Don’t You Forget About Me: The Effects of Color on our Short-Term Memory. At: visualperceptionblog. wordpress.com/2017/03/26/color-relations-and-memory/ (Accessed 05/02/2020).

197

Giboin, J. (s.d.) Ritual Book Series. At: www. jessicagiboin.com/ritual-book-series (Accessed 13/01/2020).

Conclusion

Graphéine (2013) Josef Müller-Brockmann ‘Swiss Style’. At: www.grapheine.com/en/history-of-graphic-design/ graphic-designer-muller-brockmann-swiss-style (Accessed 10/03/2020). i-D (s.d.) i-D Cover Archive: 1980 to 2015 | Cover 3571. At: covers.i-d.co/cover (Accessed 17/01/2020). Larson, K. and Picard, R. (2005) ‘The Aesthetics of Reading’ In: Appears in Human-Computer Interaction Consortium Conference, Snow Mountain Ranch, Fraser, Colorado. At: affect. media.mit.edu/pdfs/05.larson-picard.pdf Leslie, J. (2003) magCulture: New Magazine Design. London: Laurence King. Leslie, J. (2013) The Modern Magazine: Visual Journalism in the Digital Era. London: Laurence King Publishing. Li, C. (2018) Will Augmented Reality Last in Design Once the Hype Passes? At: eyeondesign.aiga.org/the-designersshaping-ars-present-and-future/ (Accessed 22/01/2020). Ludovico, A. (2013) Post-Digital Print: The Mutation of Publishing Since 1894. (2nd ed.) Eindhoven: Onomatopee. Marcroy. (s.d.) Posterzine- The Poster That’s Also A Magazine. At: www.peopleofprint.com/pop/posterzine/ (Accessed 13/01/2020). McGregor, J. (2015) ‘Amazon Pays $450,000 A Year To This Self-Published Writer’ In: Forbes Magazine. At: www. forbes.com/sites/jaymcgregor/2015/04/17/mark-dawsonmade-750000-from-self-published-amazon-books/ (Accessed 22/01/2020). Milk Interactive. (s.d.) @milkinteractive Instagram. [Instagram photo] At: www.instagram.com/milkinteractive/ (Accessed 28/02/2020). Milk Interactive. (s.d.) Milk Interactive- A Digital Product Design Agency. At: milkinteractive.ch/ (Accessed 28/02/2020b). Oľga, C. (2018) ‘Media and Digital Marketing’ In: Baciková, Z. (ed.) Marketing in The Digital Era. Berlin: Peter Lang. pp.39–70. Pentagram. (2017) Dance Ink (Vol. 8, No. 2). At: www.pentagram.com/work/dance-ink-vol-8-no-2/story (Accessed 13/02/2020). Pentagram. (2017) Dance Ink (Vol. 8, No. 2). At: www.pentagram.com/work/dance-ink-vol-8-no2?rel=discipline&rel-id=10 (Accessed 13/01/2020).

198

Conclusion

Poynter, D. (2006) Dan Poynter’s Self-Publishing Manual: How To Write, Print and Sell Your Own Book. (15th ed.) Santa Barbara, Para Pub. Rahman, N. (2018) Madame Tussauds AR Guidebook. At: vimeo.com/300771410 (Accessed 25/02/2020). Rahman, N. (s.d.) Madame Tussauds Interactive Guidebook- Augmented Reality. At: dribbble.com/shots/6906717Madame-Tussauds-Interactive-Guidebook-Augmented-Reality-AR (Accessed 25/02/2020). Schneider, T. (1994) Fuse. At:www.wired. com/1994/07/fuse/ (Accessed 31/01/2020). Simonato, A. (2003) ‘Lead Me’ In: Leslie, J. (ed.) magCulture: New Magazine Design. London: Laurence King. pp.22–25. Tate. (s.d.) Contemporary Art. At: www.tate.org.uk/art/ art-terms/c/contemporary-art (Accessed 02/02/2020). Tate. (s.d.) Dada. At: www.tate.org.uk/art/art-terms/d/ dada (Accessed 26/01/2020). Terrett, B. (s.d.) All The Ephemera That’s Fit to Print. At: noisydecentgraphics.typepad.com/design/2009/01/thingsour-friends-have-written-on-the-internet-2008-is-a-publication-thatsbeen-dropping-through-letter-boxes-over-the-last.html (Accessed 20/01/2020). Gemperli, T. (2018) Weltformat App. At: www.youtube. com/watch?v=kO7JQ7eDzdo (Accessed 28/02/2020). Tong, J. (2014) What is Editorial Design, and Why Is It So Important to Digital Publishing? At: www.joshtong.io/ blog/2014/10/21/what-is-editorial-design-and-why-is-it-soimportant-to-digital-publishing (Accessed 22/01/2020). V&A. (s.d.) Aestheticism. At: www.vam.ac.uk/collections/ aestheticism (Accessed 26/01/2020). V&A. (s.d.) Art Nouveau. At: www.vam.ac.uk/ collections/art-nouveau (Accessed 26/01/2020). Vaughan, H. (2009) The Graphic Century. London: Whitechapel Gallery. viction:ary. (2015) Print Matters: The Cutting Edge of Print. Hong Kong: viction:ary. Weltformat Festival. (2019) 2019: Tools & Rules. At: weltformat-festival.ch/en/2019 (Accessed 29/02/2020). Whitechapel Gallery. (s.d.) This is Tomorrow. At: www. whitechapelgallery.org/exhibitions/this-is-tomorrow/ (Accessed 30/01/2020).

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Appendices Images: Pages 017-018: Fig 10. @ off____white Instagram Post 1 (2020) Fig 11. @ off____white Instagram Post 2 (2020) Fig 12. @ off____white Instagram Post 3 (2020) Fig 13. @ off____white Instagram Post 4 (2019)

Pages 087-088 Fig 86. Magma 1(2020) Fig 87. Magma 2 (2020) Fig 88. Magma 3 (2020) Fig 89. Magma 4 (2020) Fig 90. Magma 5 (2020) Fig 91. Magma 6 (2020)

Pages 051-056 Fig 44. Flock and Foil Workshop (2020) Fig 45. Flock and Foil Workshop (2020) Fig 46. Flock and Foil Workshop (2020) Fig 47. Flock and Foil Workshop (2020) Fig 48. Flock and Foil Workshop (2020) Fig 49. Flock and Foil Workshop (2020) Fig 50. Flock and Foil Workshop (2020)

Pages 073-074 Fig 58. Art Review 2012- Issue 60 1 (2020) Fig 59. Art Review 2012- Issue 60 2 (2020) Fig 60. Art Review 2011- April 1 (2020) Fig 61. Art Review 2011- April 2 (2020) Fig 62. Bloom July 2014 1 (2020) Fig 63. Bloom July 2014 2 (2020) Fig 64. Bloom July 2014 3 (2020) Fig 65. Bloom July 2014 4 (2020) Fig 66. Form 2019- N.284 1 (2020) Fig 67. Form 2019- N.284 2 (2020) Fig 68. Baseline 2008- Issue 55 (2020) Fig 69. Edge 2018- Issue 325 1 (2020) Fig 70. Edge 2018- Issue 325 2 (2020) Fig 71. Eye 2011- Issue 81 (2020) Fig 72. Eye 2011- Issue 85 (2020) Fig 73. I-D 2013- Issue 327 1 (2020) Fig 74. I-D 2013- Issue 327 2 (2020)

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Pages 157-160 Fig 149. 24/7 Exhibition 1 (2020) Fig 150. 24/7 Exhibition 2 (2020) Fig 151. 24/7 Exhibition 3 (2020) Fig 152. Observation 1 (2020) Fig 153. Observation 2 (2020) Fig 154. Observation 3 (2020)

An exploration into the research, influences and design processes behind the publication of my Dissertation: ‘Discussing the Impact of Augmented Reality on L’Oréal’s Advertising’, an analysis of the digital space and the design choices used in today’s industry.

2020