Portfolio by Alessandra

PORTFOLIO ALESSANDRA VANNUCCI K1540676 Graduate Diploma Creative Practice

This portfolio includes all practical visual and material work, written work, and visual and material studies produced for the module PM6000.

REMIX ING 17 NOV

SUBJECT I

ANIMALS + LIGHTS

NATURAL HISTORY MUSEUM MOOD BOARD 1 - ANIMALS Photographs: Pinterest

“We

should

always

fully

acknowledge

our

sources.

this

you

should

project

For make

work that clearly responds to and develops What

identified

initially

thinking

and

source.

influences what

else

your might

be considered as a catalyst to the creative process? Consider how one influence could affect and alter the directive of others. Critically thinking course

reflect evolves

influences

project have

how

through and

fuelled

your the what it.

Record your first ideas and how they change.”

RESEARCH

SCIENCE MUSEUM

MOOD BOARD 2 - ARTISTS

Nancy Fouts

Polly Morgan

Nancy Fouts

Claire Morgan

Nancy Fouts

MOOD BOARD 3 - LAMPS/LIGHTS

i n d u l g y. c o m

ecodecomobiliario.com

bloodandchampagne.com

ecodecomobiliario

designbump.com

w w w. 3 d e a z e r. c o m

PROCESS

Inspired by the art of Nancy Fouts and by visits to the Natural History Museum and the Science Museum, I decided that I wanted to use animals and lights for my remixing project. After deciding that, a important step was to sketch a few possibilities to combine those two things, like using only some parts of the animals such as ears, horns, teeth and also exploring how to use the lights in its different forms. A natural step after the sketch was to go on digital media and start to working on the animals. At this point of the process my main concern was if I should r e a l l y u s e t a x i d e r m y. A l t h o u g h m y r e f e r e n c e s p r o j e c t s were amazing, some of them â&#x20AC;&#x201C; specially Polly Morgan â&#x20AC;&#x201C; were quite shocking for using dead animals and my intention for this project was not to shock, but to create a nice piece of decoration.

The first experiment for this project was to create a chandelier with various animals heads, and the lights bulbs hanging from their mouths (illustration on the next p a g e ) . H o w e v e r, t h e p r o j e c t d i d n o t s e e m v e r y w e l l e x e c u t e d a n d a l i t t l e c o n f u s i n g from others people perspective. Since I did not use colours on the animals, it just looked like a sketch, and the amount of animals made everything even more confusing. So the next step was to choose only one of the animals and focus in it.

OUTCOME In order to create this project, I tried to be inspired by the most number of sources as possible. Since the suggested b i b l i o g r a p h y, a r t i s t s t o e v e n m o r e p r a c t i c a l things like going to the museum. My main influence for this project was found in the Natural History Museum, where can be found a great selection of taxidermied animals. Since I had never seen anything like it, I found it fascinating and wanted e x p l o r e t h e s u b j e c t e v e n f u r t h e r. After going to the museum, my research was focused in studying the artists and designers that approach the topic remixing in their projects. Nancy Fouts was my biggest inspiration for this. Her weird and surreal work made me feel a real connection and inspired me in many ways. Many of her projects involve light bulbs. With a little bit more of research on Fouts work and some other artists, my project focused on animals and lights. I did a few experiments for this project, using only part of the animals such as ears, horns, and teeth and also exploring how to use the lights in its different forms. Also, one of the experiments for this was use multiple animals heads to make a c h a n d e l i e r. N o n e o f t h o s e a t t e m p t s s e e m enough, so for my final outcome I focused o n e a n i m a l o n l y, t h e f o x , a n d m a d e a l a m p with two bulbs hanging from the foxâ&#x20AC;&#x2122;s mouth. As a graphic designer designing a piece of decor item, my representation for this was a relatively simple and realistic illustration that can be interpreted easily to realize the project.

SCA LE 27 OCT

SUBJECT I

“We

should

not

work

scale simply because it is portable and

convenient.

you

should

working will be

your to

For

think ANY

scale.

design

achieve

this

about

What

solution

its

project

potentially size

need

objectives

most

effectively?Does it need to be seen by

many

need

people be

seen

once? and

Does

understood

quickly? Will it be something that can be looked at closely and unhurried? Does it need to be portable and easily accessed?Again think carefully about this and what influences contribute to size.”

POST-IT

RESEARCH

“Flyposting is a guerrilla marketing tactic through the act of placing advertising posters or flyers in legal or illegal places. These posters are also commonly referred to as wheatpaste posters because wheatpaste is often used to adhere the posters. Posters are adhered to construction site barricades, building façades and in alleyways. T h e p o s t e r s u s e d a r e t y p i c a l l y m a d e o f a l i g h t w e i g h t p a p e r a n d p r i n t e d u s i n g f l e x o g r a p h y, digital

printing

and

screen

printing.

Modern

printing

techniques

enable

the

posters

feature full-colour designs, halftones, and photographs, making them popular for advertising concerts, political messages, commercial advertisements and special events. An increasing number of posters do not advertise anything at all and instead feature artwork, inspirational or positive messages, and religious messages.” wikipedia.org

sulkowski.exposure.co

stuartmatthewsphotography

f l i c k r. c o m

PROCESS LARGE SCALE

PORTABILITY

BUDGET

CHEAP AND LIGHT MATERIALS AND PRINTING THAT CAN EASILY BE CARRIED.

The first experiment for this project was to use flyposting. Although flyposting can be used in illegal ways, it also can be used for very alternative solutions. The main concept for this was using flyposting as an affordable, creative, cheap and portable way to make projects in large scale. Big images can be built through the flyposting concept, just putting one poster next to the other completing one big image. This kind of technique is also quite similar to techniques used in cheaper kinds of billboards.

FLYPOSTING CONCEPT

POSTER

ONE BIG IMAGE

X My first attempt for this was the concept of some image â&#x20AC;&#x153;emergingâ&#x20AC;? from the wall. The image supposes to be realistic formed by a lot of posters putted together side by side. I photoshopped the photographs on top of walls and other different scenarios. However the final result was not satisfying and the concept at the end was n o t c l e a r.

After the first experiment, I went back to do some more research on the same concept of small things forming one big image and I found wall arts made with post it notes. Post it notes are even more light, cheaper and easier to carry than flyposting.

www.designswan.com

Melissa

www.designswan.com

www.updateordie.com

Melissa

POST-IT CONCEPT

POST-IT

ONE BIG IMAGE

The design I chose for this was very simple, I use two factors to choose it: something that can be reproduce in even larger scales or even smaller scales and also, something that could represent large things. In order to execute the wall art made of post its I had to create a guide in photoshop using the technique of pixel art (image above). The size of the wall and the size of the post it notes also had to be consider previously the execution of the project.

OUTCOME In order to work with projects in large scales, it’s important to think not only on the concept and on the design, but also in how this is going to be transported and accessed. The first experiment for this brief was using flyposting. According to Wikipedia “Flyposting is a guerrilla marketing tactic through the act of placing advertising posters or flyers in legal or illegal places. The posters used are typically made of a lightweight paper and printed using f l e x o g r a p h y, d i g i t a l p r i n t i n g a n d s c r e e n printing” The flyposting can be used as an alternative solution; the main concept for this was to use flyposting as an affordable, creative, cheap and portable way to make projects in large scale. Big images can be built through the flyposting concept putting one poster next to the other completing one big image at the end. The first attempt was the concept of some image “emerging” for the wall. The final image supposed to look realistic and formed by a lot of posters p u t t e d t o g e t h e r. H o w e v e r, t h e f i n a l r e s u l t was definitely not satisfying. After some more research on the same concept of small things forming one big image, I found wall arts made with post it notes. Post it notes are even more light, cheaper and easier to carry than flyposting. Based on that, for my final outcome I created my own wall art made with post it notes, I chose the earth to be r e p r e s e n t e d o n t h e d e s i g n o f i t . I t ’s a s i m p l e design that can be easily reproduced in even larger scales or smaller scales. The final art size is 2m x 2m and it was used 540 post it notes in different shades of green and blue.

START ING POINT 02 DEC CORE I

GLOBAL WARMING - POLAR BEARS

“How do we go about identifying a potential opportunity for a creative project?

How

starting

point

for

develop

self-directed

creative project? We may be struck by a moment of dazzling inspiration in which an idea for a project is revealed

us,

but

can

also

approach to generation of project i d e a s i n a s t r u c t u r e d w a y. For this project you should develop an

art

design

brief

(not

outcome), which can then be used to

generate

creative

response

to the opportunity for intervention that you have identified. Creative briefs do not emerge from nowhere. A

brief

just

designed

much

the

created, outcomes

produced in response to that brief. A common problem is that artists and

designers

are

not

always

involved in the development of the briefs which they are then asked to respond to. We should therefore approach

the

development

brief as a creative, designed act. This the

project

preparatory

‘capstone’

self-directed

project that you will undertake in the

Course

Corbis Crave

module

RESEARCH

www.wwf.org.uk

“Global

element

PM7000.”

warming

doesn’t

warmer

weather

climate

patterns

change.

mean

future.

It’ll

we’ll the mean

all

just

planet more

have

heats, extreme

and unpredictable weather across the world – many p l a c e s w i l l b e h o t t e r, s o m e w e t t e r, o t h e r s d r i e r. We know the planet has warmed by an average of n e a r l y 1 ° C i n t h e p a s t c e n t u r y. T h a t m i g h t n o t s o u n d much, but on a global scale it’s a huge increase and it’s creating big problems for people and wildlife. As the Earth warms, the impacts can fuel each other a n d c a u s e r u n a w a y, i r r e v e r s i b l e c h a n g e s . For instance, polar ice reflects sunlight away from the Earth. But when it melts (and predictions suggest Arctic sea ice will be mostly gone in summer within the next few decades), more heat will be absorbed instead. Also, thawing permafrost releases trapped methane, emit Corbis Crave

their

and

drying

stores

forests

and

carbon

dioxide

increasing the greenhouse effect.”

warming –

all

oceans further

Victor van Gaasbeek

WWF

Green Peace

WWF

Tbwa Studio

Green Peace

P S A f o r t h e E n v i r o n m e n t a l D e f e n s e F u n d / Yo u t u b e

PROCESS

REAL PROBLEM

HELP SOLVING THE PROBLEM WITH A IMPACTFUL VISUAL OUTCOME

OUTCOME SUBJECT/TITLE: GLOBAL WARMING - POLAR BEARS An ecosystem is highly dependent on all of its parts, and removing even a single species can have potentially drastic consequences. Polar bears are an apex or top of the line predator in areas where they live. Loss of sea ice also threatens the p o l a r b e a r ’s m a i n p r e y, s e a l s , w h i c h d e p e n d o n s e a i c e t o r a i s e t h e i r y o u n g a n d rest. According to Polar Bears International, biologists estimate there are roughly 20,000 to 25,000 polar bears. They base this estimate on the best available information, combined with expert opinions on those populations that lack current data. Scientists predict that as the Arctic continues to warm, two-thirds (less than 7 , 0 0 0 ) o f t h e w o r l d ’s p o l a r b e a r s c o u l d d i s a p p e a r w i t h i n t h i s c e n t u r y.

CONTEXT

A c c o r d i n g t o s o u r c e s s u c h a s G r e e n P e a c e a n d W W F, c l i m a t e c h a n g e i s o n e o f t h e greatest challenges facing the world. A mere 2°C rise in temperature will put 30 per cent of species at high risk of extinction, marine food chains will collapse and ecosystems could completely d i s a p p e a r, w h i l e s h o r t a g e s of food and water are predicted to trigger massive movements of people, leading to migration, conflict and famine. To d a y, c l i m a t e c h a n g e i s t h e most serious threat to polar bears. The Arctic is warming roughly twice as fast as the global average, causing the ice that polar bears depend o n t o m e l t a w a y. The sea ice is melting earlier a n d f o r m i n g l a t e r e a c h y e a r. This makes it more difficult for females to get onto land in late autumn to den, and onto the sea ice in spring to feed. It means bears are fasting for longer – dramatically reducing their body weight and physical condition and making it harder for them to survive the summer season.

Corbis Crave

THE RELEVANCE

Corbis Crave

REAL PROBLEM The environmental relevance of this project is massive, but this project is also very important for me. I am engaged in projects to save polar bears since 2012, i n c l u d i n g P o l a r B e a r s I n t e r n a t i o n a l a n d W W F. A n d i t a l l s t a r t e d w i t h a v e r y s i m p l e reason: I love bears, they have always been my favourite animal. Over the years, when I was growing and gaining knowledge, I began study the bears and understand that some species were at risk of extinguishment because of human actions and this could have catastrophic consequences for humans themselves. Since then I have been the most active possible in environmental projects, especially those involving animals. This project is about saving the environment, and the polar bear is the face of it. In addition to the personal importance of this project, there is the real environmental i m p o r t a n c e . G l o b a l w a r m i n g i s r e a l p r o b l e m t h a t m u s t b e t r e a t e d w i t h u r g e n c y. G l o b a l w a r m i n g a f f e c t s t h e a n i m a l s t e r r i b l y, b u t a f f e c t s h u m a n s r i g h t a w a y a n d w e must take action.In graphic design, I have to pass information and communicate, so see it as my duty to raise awareness about this fact and to make people take action as soon as possible.

AIMS/OBJECTIVES: TAKE ACTION! The aim of this project is to create creative pieces (posters, campaigns, artistic interventions) to raise awareness about the global warming and how it is influencing the lives of the polar bears and the ecosystem in general.

TARGET The pieces/interventions should be target to the general public who is not aware of current environmental problems or to the public that it is aware but simply don’t take any actions about it.

SOURCES 1. Environmental Defense Fund (2015) Climate, [Online], Available: https://www.edf.org/ climate [29 Nov 2015]. 2. Polar Bears International (2015), Climate Change [Online], Available: polarbearsinternational.org/about-polar-bears/climate-change [29 Nov 2015].

http://www.

3 . W W F. ( 2 0 1 5 ) P o l a r B e a r , [ O n l i n e ] , A v a i l a b l e : h t t p : / / w w w . w w f . o r g . u k / w i l d l i f e / p o l a r _ b e a r / [29 Nov 2015]. 4 . E n v i r o n m e n t a l I n v e s t i g a t i o n A g e n c y. ( 2 0 1 5 ) E c o s y s t e m a n d B i o d i v e r s i t y [ O n l i n e ] , Available: https://eia-international.org/our-work/ecosystems-biodiversity [29 Nov 2015]. 5. BBC. (2014) Can Polar Bears Be Saved, [Online], Available: http://www.bbc.com/earth/ stor y/20141107-can-polar-bears-be-saved [29 Nov 2015]. 6 . G r e e n P e a c e . ( 2 0 1 5 ) S h e l l ’s O u t A r c t i c 3 T h i n g s Yo u C o u l d D o N e x t , [ O n l i n e ] , A v a i l a b l e : http://www.greenpeace.org.uk/blog/climate/shell’s-out-arctic-3-things-you-could-donext-20151019 [29 Nov 2015]. 7. Save The Acrtic. (2015) Save The Acrtic, [Online], Available: https://www.savethearctic. org/en-GB/ [29 Nov 2015]. 8. Green Peace (2014) The Acrtic Climate Change, [Online], Available: http://www. greenpeace.org/international/en/campaigns/climate-change/arctic-impacts/the-arcticclimate-change/ [29 Nov 2015].

Corbis Crave

EXHI BITI ON

“ Yo u r e x p e r i e n c e a s a n a r t a n d d e s i g n s t u d e n t commonly

culminates

experience, – to

regardless

the

of is

same

your

the

exhibition.

This

constantly

conscious

level

something of,

i.e.

climactic of

study

you

need

how

you

communicate your work and thinking to both a critically-informed process

and

exhibiting

public

should

audience. also

The

crystallize

your own self-understanding and position - it is intensely reflective. This

project

requires

interdisciplinary

teams

you of

to f o u r,

work

small

determined

the tutors.” British Museum

18 NOV CORE I

SHIFTING PATTERNS

RESEARCH All the research about this exhibition started on the exhibition itself. Shifting Patterns – Pacific Barkcloth it’s a exhibition that took place at the British Museum from 5 February - 6 December 2015. It covered 77 objects from the late 1700s to 2014. It was displayed in a chronological order and also taking into consideration the different tribes that practiced this art of cloth making, arranging the objects based on themes. On the exhibition, we’re able to take a lot of pictures and understand what is barkcloth, how is used and the importance of it. British Museum

PROCESS The first part of the process for this project was the visit to the museum. A fact about this project is that it required to work with interdisciplinary teams. That being said, the team met on November 7th for the exhibition. A very important p a r t o f t h e p r o c e s s a n d r e s e a r c h w a s t h e t e a m g o i n g t o t h e e x h i b i t i o n t o g e t h e r, this definitely contributed to a better understanding of the exhibition and a richer exchange of opinions on the subject. After the visit, the second part of the process was further research on the subject. Barkcloth was not a very familiar topic for any of us, so this step was very important so that we could, from a better understanding of the topic, build our outcome and final thoughts.

Some photos taken by ourselves that were used later in the process to further research

The third part of the process was to build our project, through a meeting with all members of the group - after the understanding of the subject and the brief and visit to the exhibition; we opted to do a book. The exhibition that was chosen for us was not very big in size but it had a rich content such as the cultural importance of making barckcloth and also a lot of interesting visual references as patterns, colours and textures. Besides, it was really important for this project being able to express our opinion about the exhibition. So it seemed appropriate to bring together all that we collected, discussed and studied in a book. The division of the book was done as follows: First an overview of what is barkcloth clothing, h o w i t â&#x20AC;&#x2122;s d o n e , w h o d o e s i t , w h e r e a n d w h y. Second an overview of the exhibition, where it is located, map, how it was divided and c a t e g o r i z e d a n d g e n e r a l i n f o r m a t i o n . F i n a l l y, a n d m o s t i m p o r t a n t l y, o u r c o n s i d e r a t i o n s a b o u t the exhibition and some suggestions. This last part was divided into communication and f a s h i o n , a s t h e g r o u p w a s i n t e r d i s c i p l i n a r y, e a c h addressed the issue in view of their discipline.

OUTCOME The exhibition Shifting Patterns – Pacific Barkcloth Clothing took place at the British Museum and it covered 77 objects from the late 1700s to 2014. The process for this project was, first of all, the understanding of the subject. For me, this topic was very u n f a m i l i a r, s o t h e r e s e a r c h w e n t f u r t h e r the exhibition itself. In my opinion, the exhibition could be understood more easily with some changes (all cited in the outcome). The exhibition that was chosen for us was not very big in size but it had a rich content. Besides, it was really important for this project to express our opinion about the exhibition. So it seemed appropriate to bring together all that we collected, discussed and studied in a book. We divided the book in topics: First, a general understanding of what is barkcloth. Then, an overview of the exhibition and a complete study of how the clothing is d i v i d e d a n d o r g a n i z e d . F i n a l l y, a n d m o s t i m p o r t a n t l y, o u r c o n s i d e r a t i o n s a b o u t t h e exhibition. This last part was divided into communication and fashion, as the group w a s i n t e r d i s c i p l i n a r y, e a c h a d d r e s s e d t h e issue in view of their discipline. In a graphic design perspective, the exhibition could have been a little more interesting and better explored. Since the location and use of the space, the exhibition seemed quite “blended” with t h e r e s t o f t h e m u s e u m . V i s u a l l y, t h e graphics designers opted for simplicity and s o b r i e t y, t h e y c o u l d h a v e t a k e n a d v a n t a g e of the theme, using patterns and colours to make a more interesting exhibition in general and make the visitor feel more involved in the subject, and that’s what we tried to do with our outcome. Please go to the link below to check the complete book: http://issuu.com/alessandrav/docs/book_shiftingpatterns_

OBSERVA TION “Regardless

artist

visual

your

discipline,

designer

t h i n k e r.

Yo u

you

are

forage

for

i n s p i r a t i o n t o f e e d y o u r c r e a t i v i t y. Therefore

28 OCT

Yo u

will

primary

CORE I

observation

hear

and

Figurative,

LEAVES

vital

the creative process.

drawing,

tutors

speak

secondary

landscape

p h o t o g r a p h y,

research.

still

life

recordings

and data collection that you create

Observation helps you interpret the world around you

yourself,

and

assists

you

building

better

understanding

first-hand,

primary

research.

are

forms

Secondary

of form and function. It is widely accepted that the

research is similar information you

longer

better

have gathered from work by others

since

- books, films or the internet. It is

you

observe

understanding drawing

requires

scene

you

far

will

scenario

gain.

the

Therefore

consideration

than

the

second-hand.

fraction of a second a smartphone takes to capture an image, the more the researcher appreciates the subject’s qualities. This project asks you to document an area in depth to reveal its character and / or the people who inhabit it. The size of the area is up to you, but this is about observing, detecting and spotting what the passerby may well miss – Emotion and Detail.”

RESEARCH

Why do leaves change color in Autumn? www.sciencemadesimple.com

“Plants

make

their

own

food.

They

take

water

carbon dioxide

from the ground through their roots. They take a g a s c a l l e d c a r b o n d i o x i d e f r o m t h e a i r. T h e y turn

water

and

carbon

dioxide

into

food

and

oxygen. Oxygen is a gas in the air that we need

sunlight

to breathe. Plants make their food using sunlight and

something

called

Chlorophyll

gives

leaves

t h e i r g r e e n c o l o r. W i n t e r d a y s a r e s h o r t a n d d r y. Many plants stop making food in the fall. The

photosynthesis

c h l o r o p h y l l g o e s a w a y. T h e n w e c a n s e e o r a n g e and

yellow

colors.

These

colors

were

the

l e a v e s a l l s u m m e r, b u t t h e g r e e n c o v e r e d t h e m up. Some leaves turn red. This color is made in the fall, from food trapped in the leaves. Brown colors are also made in the fall. They come from wastes left in the leaves.”

glucose

water

The interesting thing for me about this project was being able to take time to notice something I never would notice if it were not for the project. Leaves are e v e r y w h e r e , b u t f o r m e i t i s e v e n m o r e i n t e r e s t i n g t h i s t i m e o f y e a r. S i n c e I â&#x20AC;&#x2122; m new in the U.K., the leaves caught my attention since my first day here for one r e a s o n : t h e c o l o u r. E x t r e m e w e a t h e r c a n m a k e l i v i n g t h i n g s b e h a v i o u r d i f f e r e n t l y, something I had never experienced before. Before the doing my observation, I did a lot of research online about how living t h i n g s a r e a f f e c t e d b y t h e w e a t h e r a n d s p e c i a l l y b y t h e a u t u m n a n d w i n t e r, a n d a l s o i t s a n a t o m y, c i r c l e o f l i f e , d i f f e r e n t t y p e s o f p l a n t s a n d l e a v e s . After the research online, I went to the park in two different days. On day one I stayed there for a couple of hours just to understand everything in general, per example, how some trees seems to be really affected by the weather and others were entirely green and full. On day two I went there to document everything by taking pictures.

Besides the pictures, I also collected and observe the leaves that were on the ground, and understand a little better the process of the colour change and a better study on the colours and shades.

PROCESS Since I collected the leaves on the observation, the process for this was basically combining the leaves and analysing the colours. I also did some experiences with t h e s h a p e o f t h e l e a v e s a n d d r a w i n g t h e v e i n s . H o w e v e r, f o r t h e o u t c o m e I r e a l l y wanted to emphasised the colours.

OUTCOME For this project I wanted to observe something that was interesting to me, and something that changes over time, anything but static. The first thing that came to my mind were leaves. It may sound a bit boring because it’s something that’s all over the place all the time, but that was exactly what intrigued me so much. I was born in South America and lived there my entire live. Since it’s a ver y tropical place, we don’t really have seasons of the year and the temperatures are quite s i m i l a r t h e e n t i r e y e a r. I n t h e U . K . i t ’s obviously very different and this affects n a t u r e d i r e c t l y, s o m e t h i n g I h a d n e v e r seen before. After the research online, I went to the park in two different days. On day one I stayed there for a couple of hours just to understand everything in general, per example, how some trees seems to be really affected by the weather and others were entirely green and full. On day two I went there to document everything by taking pictures. Besides the pictures, I also collected and observe the leaves that were on the ground, and understand a little better the process of the colour change and a better study on the colours. After studying and documenting everything that I could about t h e w e a t h e r, c o l o u r a n d a n a t o m y o f t h e leaves, my outcome is a representation o f t h e l e a v e s i n t h i s s e a s o n i n p a r t i c u l a r, the autumn, and how they are in different s t a g e s a n d c h a n g i n g c o l o u r. I c h o s e t o use photography because it seemed only fair to be represented this way with its realistic colours and textures.

PRO CESS PROCESSING THE PROCESS

“What

Many

your

creative

designers

and

process?

artists

have

developed models of their creative process – what is the value of these models? Do they enable us to be b e t t e r d e s i g n e r s ( o r a r t i s t s ) ? To w h a t extent are art and design intuitive and/or what

structured extent

activities?

creative

process

discipline-specific? Does a graphic designer work in the same way as a product designer or fine artist? For this project you should identify

14 OCT CORE I

and

visualise

your

own

creative

process, and reflect on its strengths and weaknesses in relation to those of other creative practitioners from a range of backgrounds. This may be the first time you have thought about this

your

objective

reflect

exercise, your

creative

past

the and

way

–

process you

usefulness consider

creative

projects

should of

this

any

might

have been done differently or more successfully if you had paid closer attention to your process..”

RESEARCH

tycho iso50

Scott Reinhard

Wayfinding Westerdals

F i l i p Tr i n e r

DesignerIN

PROCESS

In the following steps I describe my creative process for most of my projects. It changes depending on the briefing, time and client (or final goal). I ended up with 7 s t e p s , h o w e v e r, n o t a l l o f t h e m a r e d o n e i n a l l m y projects.

STEP 1 - THE PROBLEM The first step is nothing but understand the problem by raising a bunch of questions like: What is the problem? When? Who? How?

STEP 2 – REFERENCES Having in mind what is the problem and how I want to solve it, it’s important to have some background references for this. For me, that’s the most fun part of the entire process, and I would say that’s also the most important part. I will probably be going back to this step many times until the process is done.

STEP 3 – BRAINSTORMING That’s the second most fun part. This’s where I just throw d i f f e r e n t i d e a s i n a p i e c e o f p a p e r, e v e n i f i t s o u n d s ridiculous. I don’t always go through this step. Usually when I already have a pretty clear idea about my project in step 1 and 2, I just skip it. But the brainstorm is always very useful when I am stuck and have no good ideas.

STEP 4 – PUTTING EVERYTHING TOGETHER At this stage I usually have a general idea about what I want for this project. So, in some cases, it’s nice to put everything together in a “Mood Board”. In this mood board, I can put images, colours and words to give me a clear idea about the final result and about h o w e v e r y t h i n g g o e s t o g e t h e r. B e s i d e s t h e m o o d b o a r d , sketch everything is also really helpful at this part of the process.

STEP 5 – FEEDBACK AND STEPPING BACK it’s always nice to ask someone else opinion about the idea for the project, someone who can look it from the

oneighty creative

outside. Maybe a colleague, a boss or a teacher can give me some nice feedback and make me rethink everything or just tell me I am in the right path. Also, always that I have enough time I try to step back from the project. Just look something else, or work in a different project.

STEP 6 – PUTTING IN TO PRACTICE U s u a l l y, a l l m y p r o j e c t s a r e m a d e i n d i g i t a l m e d i a – i l l u s t r a t o r, p h o t o s h o p , i n d e s i g n – so that’s the moment I finally start to putting in to practice. If I did the previous s t e p s c o r r e c t l y, p r o b a b l y t h e r e s u l t s w i l l b e w h a t I w a s e x p e c t i n g . H o w e v e r, sometimes I did everything right, and still, I change my mind in the middle of everything just because I had a better idea or things weren’t working.

STEP 7 – FINISHING Here I usually refine my work maybe going back again to step 2, and do some final retouching. I am ver y perfectionist, so that’s also the step I go through ever ything to make sure if everything is perfect.

For the outcome of this project, I wanted to emphasize the steps, so I chose t o m a k e a f o l d e r. T h e w a y i t f o l d s r e p r e s e n t s t h e s t e p s . I n e a c h o f t h e s t e p s I described my own process using this project as an example.

OUTCOME

A process for a creative project was not a new discussion for me; I had study it several times before during my previous course. Still, this project helped me to review my steps and to improve it to a better result. In general, the process is divided into s t e p s . H o w e v e r, i t c h a n g e s d e p e n d i n g on the briefing, time and client (or final g o a l ) . I e n d e d u p w i t h 7 s t e p s ; h o w e v e r, I do not use all of them in all my projects. The steps include: Identifying the problem, references, brainstorming, mood boards/sketches, feedback, practice and finishing. For the outcome of this project, I wanted to emphasize the steps, so I chose to m a k e a f o l d e r. T h e w a y i t f o l d s r e p r e s e n t s the steps. In each of the steps I described my own process using this project as an example.

My conclusion is that â&#x20AC;&#x153;rulesâ&#x20AC;? should not be applied for this; itâ&#x20AC;&#x2122;s just the way your brain works. I came up with those 7 steps understanding how my brain works most of the times. But if I feel the need to skip one step - or to create a new step - I w i l l d o i t . A n d m o s t i m p o r t a n t l y, n o t h i n g prevents me to be in step 7 and go back to step 1 and do it all over again. The only rule for me is having a good consistent project at the end.

WO RD CALENDAR

01 DEC

“We should always think about the written or spoken word in relation to our designs and

designing.

For

this

project

you

should make work which clearly considers what

needs

language.

Does

said,

your

and

project

how,using need

include text, even if it’s only one word? How

might

that

you

text

select

work?

What

could

font/s

hand

drawn? Might it be the main element of the

design,

lesser

priority

–

but a nonethelessessential ingredient to help

communicate

the

message?

Would

it require maximum impact? Would it be displayed

restrained

and

sensitive

manner? Would it be reproduced in twodimensional or three-dimensional form, or possibly both?”

SUBJECT I

RESEARCH

Burger King

Samuel Castaño

Studio JQ

Abduzeedo

Tu m b l r

Buzzfeed

PROCESS

The first experiment for this project was to try using words as part of illustrations. Here, I attempted to make a series with the theme food. After a few tries I realized that this kind of approach was not the best for the brief, and it seemed too simple and not original.

X On this second approach I tried combining images and words. Although I like the final result and it is visually well executed, itâ&#x20AC;&#x2122;s not original as well. After some research, I found a very similar work done by Pommel Lane.

Silhouettes // 004 - A Lettering Series by Pommel Lane

At this step, I was trying to use words to change the meaning - or give the meaning - for something. The main idea for this, was to use some simple and apparently random images, that through the words its a c t u a l l y m e a n i n g i s r e v e a l e d . H o w e v e r, I d o n â&#x20AC;&#x2122; t t h i n k t h a t w a s e n o u g h concept.

X For this, I kept the same concept as before. Using song lyrics or famous quotes, I tried somehow changing the direction of the image through the words bringing a new meaning that could not be seen only through the image. I looked for some topics to approach like bullying and domestic violence. Although I liked the concept, I could not make images look visual attractive enough to go on with this concept. H o w e v e r, at this particular step the project start became very personal for me, which help me with my final outcome.

OUTCOME For this project, I wanted to explore the importance of correct use of words in Graphic Design. Graphic Design is about to communicate, and communication does not always have to be done through the use o f w o r d s . H o w e v e r, i t i s v e r y i m p o r t a n t t o keep in mind that the right use of words and in the right context might change the meaning of everything. I started the project using the word as a key part to understanding an illustration or drawing, making the words actually p a r t o f i t . H o w e v e r, t h i s a p p r o a c h s e e m e d too simple and shallow. My next step was not to use illustrations and stay focused only on Graphic Design, combining photography and words. Using song lyrics or famous quotes, I tried somehow changing the direction of the image, through the words bringing a new meaning that could not be seen only through the image. Through this step, the project start became very personal for me.

The final step and my outcome was something extremely personal, I kept the idea of photographs and words. I documented my year using just one word per month. The words were combined with the use of proper typography and photography that contextualize the situation.

Please go to the link below to check the complete project: http://issuu.com/alessandrav/docs/calendar

ITE RA TI ON

“We

should

iterate

always

(prototype,

beta-test) before

our

work

presenting

completed

13 OCT

For

project

SUBJECT I

clearly

this

resolved. you

should make work which and

iterates

explicitly

the

first

v e r s i o n . T h e ‘ C r a s h - Te s t Dummy’. . . will it work? Te s t

and

your

‘dummy-up’

ideas,

develop

‘prototype’, out’

your

see

how

‘roughdesigns

and

to they

will actually work. Have the confidence to move beyond loose

written

notes,

scribbles

and

‘thumbnails’ and produce an almost fully resolved ‘rough’

‘dummy’

your concepts. This is a key stage in being able to

confidently

present

ideas and articulate and gauge their effectiveness before

producing

the

final completed item.”

DRAWING PERSONALITIES

RESEARCH

Motion Theater

Crusoe Men’s

Hattie Stewart & Fiasco

Hattie Stewart

Ana Strumpf

Hattie Stewart

T h i s p r o j e c t b e g a n a l m o s t r a n d o m l y a n d a s a j o k e . D a i l y, w e c r o s s h u n d r e d s of people on the street, on the bus, on the tube. Since I am a person who just came from a small town to this new whole world that is London, I found myself very interested in those people and keep wondering who they are just by the look on their faces, or the way they move, the way they dress. Is it even possible to understand someone just looking at them? How nice it would be being able to draw those people personalities?

PROCESS 01

X This project is more experimental than anything else. For the process, I tried ways to draw upon photographs of ordinary people. The idea here is to interpret the expression of the people and try to pass it through drawing. Among the experiments, I tried simply drawing on top of a photograph and also using tracing papers, but none of these experiments was successful.

X My choice for the outcome was to use digital media to make the drawings. Besides t h a t , i t w a s i m p o r t a n t t h a t t h i s p r o j e c t w e n t f u r t h e r, I w a n t e d t h i s p r o j e c t a l s o w a s interactive and had the experiments of others.

OUTCOME This is an experimental project in order to create new ways to see different things. In this case a new way to see unknown people. D a i l y, w e c r o s s h u n d r e d s o f p e o p l e o n t h e street, on the bus, on the tube. Since I am a person who just came from a small town to this new whole world that is London, I found myself very interested in those people and keep wondering who they are just by the look on their faces, or the way they move, the way they dress. Is it even possible to understand someone just looking at them? How nice it would be being able to design those people personalities? This project itâ&#x20AC;&#x2122;s about obser vation, and creating personalities for those people. In order to do that I chose photographs on the internet of random people, and draw above them my own interpretation of their personalities. Since itâ&#x20AC;&#x2122;s an experimental project, I tried to use different kinds o f m e d i a t o d o i t s u c c e s s f u l l y. , I t r i e d simply drawing on top of a photograph and also using tracing papers, but none of these experiments was successful. My choice for the outcome was to use digital media to make the drawings. Besides that, I really wanted this project to be interactive and that others could also express the personality of these people in the photographs. The idea is to put the photographs in public places and encourage people to make those interpretations.

BIBLIOGRAPHY AND SOURCES “REMIXING” 1 . F o u t s , N a n c y. ( 2 0 1 4 ) N a n c y F o u t s , [ O n l i n e ] , A v a i l a b l e : h t t p : / / w w w. n a n c y f o u t s . c o m [ 1 6 Nov 2015]. 2 . M o r g a n , P o l l y. ( 2 0 1 5 ) P o l l y M o r g a n , [ O n l i n e ] , A v a i l a b l e : h t t p : / / p o l l y m o r g a n . c o . u k / w o r k s / [16 Nov 2015]. 3. Morgan, Claire. (2015) Claire Morgan, [Online], Available: http://www.claire-morgan. co.uk/Sculpture(2952775).htm [16 Nov 2015]. 4 . R i c h ’s Ta x i d e r m y. ( 2 0 1 5 ) R i c h ’s Ta x i d e r m y, [ O n l i n e ] , A v a i l a b l e : h t t p : / / w w w. r i c h s t a x i d e r m y. c o m / w i s c o n s i n - t a x i d e r m i s t - T A X I D E R M Y- G A L L E R Y. h t m l [ 1 6 N o v 2 0 1 5 ] . 5. Specialty Retail Collective. (2014) Light it up!, [Online], specialtyretailcollective.com/light-it-up/ [16 Nov 2015].

Available:

http://www.

6. Blood And Champagne. (2014) Concrete Lighting, [Online], bloodandchampagne.com/concrete-lighting/ [16 Nov 2015].

Available:

http://www.

7. Design Bump. (2015) 30 DIY lamps chandeliers can create everyday objects, [Online], Available: http://designbump.com/30-diy-lamps-chandeliers-can-create-everyday-objects/ [16 Nov 2015]. 8 . I n d u l g y. ( 2 0 1 5 ) [ O n l i n e ] , A v a i l a b l e : h t t p : / / i n d u l g y. c o m [ 1 5 N o v 2 0 1 5 ] . 9. Pinterest. (2015) [Online], Available: https://www.pinterest.com [15 Nov 2015]. 10. Behance. (2015) [Online], Available: https://www.behance.net [15 Nov 2015]. 11. Munari, B. (2011) Design as Art, London: Penguin.

“SCALE” 1. The Jealous C u r a t o r. (2014) Maud Vantours, [Online], Available: t h e j e a l o u s c u r a t o r. c o m / b l o g / 2 0 1 4 / 0 4 / 1 5 / m a u d - v a n t o u r s / [ 0 1 D e c 2 0 1 5 ] .

http://www.

2. Design Swan. (2010) Amazing post it notes art, [Online], Available: designswan.com/archives/amazing-post-it-notes-art.html [01 Dec 2015].

http://www.

3. Post It. (2015) 7 Tips for creating post it super sticky note pixel art, [Online], Available: http://www.post-it.com/3M/en_US/post-it/ideas/articles/7-tips-for-creating-post-itsuper-sticky-note-pixel-art/ [02 Dec 2015]. 4. Melissa. (2015) Galeria Melissa – Post It, [Online], Available: http://www.melissa.com. br/galeria/galeria-melissa-sp/post-it [02 Dec 2015]. 5. Wikipedia. (2015) Flyposting [Online], Available: https://en.wikipedia.org/wiki/Flyposting [15 Oct 2015]. 6. Sulkowski. (2014) Hamburg – Das Schanzenviertel, [Online], Available: https://sulkowski. exposure.co/winter-20142015 [15 Oct 2015]. 7 . F l i c k r. ( 2 0 0 6 ) [ O n l i n e ] , h t t p s : / / w w w. f l i c k r. c o m / p h o t o s / z o s o f o t o / 2 9 2 0 7 4 2 7 [ 1 5 O c t 2 0 1 5 ] . ( 2 0 0 9 ) [ O n l i n e ] , A v a i l a b l e : h t t p s : / / w w w. f l i c k r. c o m / p h o t o s / r a v e r _ m i k e y / 4 1 2 1 0 9 1 4 0 2 [ 1 5 Oct 2015]. ( 2 0 1 3 ) [ O n l i n e ] , h t t p s : / / w w w. f l i c k r. c o m / p h o t o s / k h 1 2 3 4 5 6 7 8 9 0 / 8 9 9 8 9 1 2 2 6 3 [ 1 5 O c t 2 0 1 5 ] .

8. Pinterest. (2015) [Online], Available: https://www.pinterest.com [11 Dec 2015]. 9. Freepik. (2015) [Online], Available: http://www.freepik.com [11 Dec 2015]. 10. Corbis Crave. (2015) [Online], Available: http://corbiscrave.com [11 Dec 2015].

“STARTING POINT” 1. Environmental Defense Fund (2015) Climate, [Online], Available: https://www.edf.org/ climate [29 Nov 2015]. 2. Polar Bears International (2015), Climate Change [Online], Available: polarbearsinternational.org/about-polar-bears/climate-change [29 Nov 2015].

http://www.

“EXHIBITION” 1. British Museum (2015) Shifting Patterns [Online], Available fromhttp://www. britishmuseum.org/whats_on/exhibitions/shifting_patterns.aspx [18 Nov 2015] 2. Wikipedia (2015) Barkcloth Barkcloth [18 Nov 2015]

[Online],

Available

from-

https://en.wikipedia.org/wiki/

3. La Antique Onlone (2008) What is Barkcloth [Online], Available fromhttp://iantiqueonline. ning.com/group/vintagebarkclothfabric/forum/topics/what-is-barkcloth-an [18 Nov 2015] 4. Fallon, A, (2014), Ugandan designers seek cut of Africa fashion market [Online], 26 N o v e m b e r, Available fromhttp://news.yahoo.com/ugandan-designers-seek-cut-africafashion-market-073957987.html [10 Nov 2015] 5. Okon, A, (2015) London Fashion Week: Ubuntu International Project Autumn/Winter 2 0 1 2 C o l l e c t i o n s [ O n l i n e ] , 1 9 F e b r u a r y, A v a i l a b l e f r o m - h t t p : / / w w w. h a u t e f a s h i o n a f r i c a . com/2012/02/19/london-fashion-week-ubuntu-international-project-autumnwinter-2012collections/ [12 Nov 2015] 6. Independent Global Citizen, (2014), Ugandan Barkcloth in Fashion and Design.[Online], 6 April, Available fromhttp://independentglobalcitizen.com/2015/04/06/ugandan-barkclothin-fashion-and-design/ [12 Nov 2015] 7.

Bobby

Kolade

Lookbook

(2015)

[Online],

Available

from-

http://bobbykolade.com/

lookbook [18 Nov 2015] 8. Van Gogh Alive Exhibition (2015) [Online], Available fromhttp://grandeexhibitions.com/ traveling-exhibitions/van-gogh-alive/ [18 Nov 2015] 9. Unibox (2014) What Makes A Good Exhibition [Online], Available fromhttp://www. unibox.co.uk/what-makes-a-good-exhibition-stand/#.Vm4E6oSrDuI [18 Nov 2015]

“OBSERVATION” 1. Science Made Simple. (2014) Leaves, [Online], Available: http://www.sciencemadesimple. com/leaves.html [21 Oct 2015]. 2 . S c i e n c e M a d e S i m p l e . ( 2 0 1 3 ) P l a n t s i n W i n t e r, [ O n l i n e ] , s c i e n c e m a d e s i m p l e . c o m / p l a n t s - i n - w i n t e r. h t m l [ 2 1 O c t 2 0 1 5 ] .

Available:

http://www.

3. Enchanted Learning. (2015) Plant, [Online], Available: http://www.enchantedlearning. com/subjects/plants/plant/ [21 Oct 2015]. 4 . B i o l o g y Tu t o r V i s t a . ( 2 0 1 5 ) P l a n t A n a t o m y, [ O n l i n e ] , h t t p : / / b i o l o g y. t u t o r v i s t a . c o m / p l a n t k i n g d o m / p l a n t - a n a t o m y. h t m l [ 2 1 O c t 2 0 1 5 ] . 5. Pinterest. (2015) [Online], Available: https://www.pinterest.com [15 Nov 2015]. 6. Behance. (2015) [Online], Available: https://www.behance.net [15 Nov 2015].

“PROCESS” 1. Scott Reinhard. (2013) Museums Are Now, [Online], Available: http://scottreinhard.com/ museums-are-now/ [5 Oct 2015]. 2. 99 Designs. (2015) How Graphic Design Helps Us Navigate, [Online], Available: https://99designs.com/designer-blog/2013/07/30/how-graphic-design-helps-us-navigatebuilt-environments/[7 Oct 2015]. 3 . G e t A d d i c t e d To . ( 2 0 1 3 ) H o w D o Yo u L o o k A t B r o k e n Ty p e , [ O n l i n e ] , A v a i l a b l e : h t t p : / / www.getaddictedto.com/how-do-you-look-at-broken-type/ [7 Oct 2015]. 4. Discover Design. (2010) process [7 Oct 2015].

Process,

[Online],

http://www.discoverdesign.org/design/

5 . D a v i d A i r e y. ( 2 0 1 5 ) W h a t I s T h e G r a p h i c D e s i g n P r o c e s s [ O n l i n e ] , A v a i l a b l e : h t t p : / / w w w. d a v i d a i r e y. c o m / w h a t - i s - t h e - g r a p h i c - d e s i g n - p r o c e s s / [ 7 O c t 2 0 1 5 ] . 6. Behance. (2015) [Online], Available: https://www.behance.net [15 Nov 2015].

“WORD”

1 . C l a r k e , M . ( 2 0 0 7 ) V e r b a l i s i n g t h e V i s u a l : Tr a n s l a t i n g A r t a n d D e s i g n i n t o W o r d s . AVA Academia. 2. . Pinterest. (2015) [Online], Available: https://www.pinterest.com [15 Nov 2015]. 3. Behance. (2015) [Online], Available: https://www.behance.net [15 Nov 2015]. 4. Abduzeedo. (2015) Ty p o g r a p h y typography [29 Nov 2015].

[Online],

Available:

http://abduzeedo.com/tags/

5. Pommel Lane (2014) Silhouettes A Lettering Series [Online], pommellane.com/blog/2014/9/18/silhouettes-001 [29 Nov 2015].

Available:

http://www.

6. Criatives (2012) Tipografia Experimental [Online], Available: http://www.criatives.com. br/2012/03/tipografia-experimental/ [20 Nov 2015]. 7. Behance: Marion Arbona (2015) https://www.behance.net/galler y/29372451/ABC [29 Nov 2015]. A d i l s o n G o n z a l e s ( 2 0 1 5 ) h t t p s : / / w w w. b e h a n c e . n e t / g a l l e r y / 2 5 5 4 1 5 5 3 / A i l e r o n s - Ty p e f a c e [ 2 9 Nov 2015]. Studio JQ (2014) https://www.behance.net/JonathanQuintin [29 Nov 2015]. 8 . Tu m b l r ( 2 0 1 5 ) 1 0 0 0 D r a w i n g s [ O n l i n e ] , A v a i l a b l e : h t t p : / / 1 0 0 0 d r a w i n g s . t u m b l r. c o m [ 2 9 Nov 2015]. 9. Corbis Crave. (2015) [Online], Available: http://corbiscrave.com [11 Dec 2015].

â&#x20AC;&#x153;ITERATIONâ&#x20AC;? 1. Flavor Wire. (2012) Pop Psychedelic Magazine Cover Redesigns, [Online], Available: http://flavorwire.com/257407/pop-psychedelic-magazine-cover-redesigns [1 Oct 2015]. 2. Cover Junkie. (2012) Hattie Stewart, [Online], Available: http://www.coverjunkie.com/ blog/hattie-stewart---fiasco/3/10304/[2 Oct 2015]. 3 . Tu m b l r. ( 2 0 1 5 ) B e a u t i f u l l y A l t e r e d M a g a z i n e C o v e r s , [ O n l i n e ] , A v a i l a b l e : h t t p : / / f u c k y e a h b o o k a r t s . t u m b l r. c o m / p o s t / 1 1 0 3 7 5 6 4 9 1 2 0 / b e a u t i f u l l y - a l t e r e d - m a g a z i n e - c o v e r s by-brazilian [2 Oct 2015]. 4. Pinterest. (2015) [Online], Available: https://www.pinterest.com [15 Nov 2015]. 5. Behance. (2015) [Online], Available: https://www.behance.net [15 Nov 2015]. 6. Corbis Crave. (2015) [Online], Available: http://corbiscrave.com [11 Dec 2015].

Kingston University - 2015