Type & Print: Module file

=ŏ į\į7ğÃæIJ AMY RICHARDS issuu.com/amy-richards

Module Brief

L2 BA Hons Graphic Design Module Title:

Exploring and Developing Practice in Graphic Design: Typography & Print Strand

Module Code:

UADAPJ-45-2

Module Type:

Project Based

Project Title:

Project 1: Family Monogram Project 2: Everything About One Thing Project 3: Complex Simplicity Project 4: Mark, Commemorate, Remember (Workshop Project)

Module Leaders:

Jez Hattosh Nemeth/ Kate Rogers/ Gabriel Solomons

Module Strand Leader:

Gabriel Solomons

Starting Date:

Thursday 30st January 2014/ 10:00 am

Assessment:

Wednesday 7th May 2013/ 10:00-14.00 pm Assessment Feedback: 22nd May

(45 credit points)

Learning outcomes: To enable students to: 1. develop and demonstrate knowledge of a range of Graphic Design practitioners who relate to an integral part of their practice; 2. develop and demonstrate the ability to collate and analyse critical and contextual research from a range of sources appropriate to individual research interests.

3. integrate the critical evaluation of the role of Graphic Design in relation to personally generated studio practice; 4. identify and manage the development of strategies for self-directed study; 5. demonstrate the development and implementation of conceptual, critical and production processes; 6. develop an understanding of Graphic Design in relation to personal studio practice; 7. demonstrate the implementation of a methodology in the development of a negotiated body of work; 8. develop the ability to identify key elements of a problem and identify methods/techniques, concepts and process appropriate to the task 9. develop the ability to communicate their ideas clearly visually and verbally Syllabus outline:

Typography & Print Strand: This module encourages the exploration of typography and print as a means of developing design concepts. It is designed to enable you to develop your understanding of a range of print and typographic design processes on both a 1 2

Module Brief contextual and skills-based level and relate these to a range of design contexts.

It also gives you the opportunity to explore the practice of typography in direct relation to your own interests as a designer.

The concepts and ideas that inform typographic design for print are introduced at the beginning of the module through a series of lectures and seminars.

These consider areas of publishing; book and magazine design; typeface design and architectural use of typography in both historical and contemporary contexts.

You will be set a variety of larger and smaller projects to enable you to explore some of these themes and challenge you to develop innovative design solutions for contemporary contexts. These projects are set in the format of a contextualised design brief and offer examples of typical issues and questions that may be encountered by professional designers. They will encourage you to analyse context, audience and practical constraints and to develop innovative, creative solutions to defined tasks.

Tutorials and group discussions of work will encourage you to test and develop your conceptual ideas, and the development of practical skills to achieve successful final outcomes Workshops: A series of workshops and demonstrations in print and digital techniques run during the module to support the further development of practical skills and encourage you to experiment while linking the practical to your conceptual ideas. These include: • •

silkscreen Indesign / separated artwork for print

At the end of the module you are assessed on the presentation of a series/set of design work that clearly defines the context for which the designs are intended, together with supporting research and developmental work. You are also required to keep a module file of all notes, research, collected material etc.

At key stages throughout the module you will be asked to present and critique work in progress. This will give you the opportunity to test prototypes, explore project outcomes and develop work in practice by using your fellow students and tutors as your ʻaudienceʼ or ʻsounding boardʼ.

Project titles: Family Monogram (hand-rendered to digital representation to applied embroidery) Everything About One Thing (long form narrative and high-spec book production) Complex Simplicity (visualizing personal data) Mark, Commemorate, Remember (screen-printed poster) Throughout the module lectures and seminars will be delivered in support of your development looking at different forms of practice that span the Type & Print genre. Historical and contemporary influences will form the basis of your inquiry to help strengthen your opinion and practice.

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Interim Task: A thing I have learnt in my life so far

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Project One: Family Monogram

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Project Two: Everything about one thing

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Project Three: Complex Simplicity

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Project Four: Mark, Commemorate, Remember

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Examples of Layout

!æı ğÃàį=PĤÖ Preparatory Brief

Bristol School of Creative Arts BA Hons Graphic Design

Exploring & Developing Practice in Graphic Design UADAGR-40-2

Typography and Print Preparatory Projects

Please bring all work to the first session at Bower Ashton on Thursday 30th January 2013 Room 2B12 Preparation Project 2: A thing you have learned in your life so far Produce a typographic response inspired by Stefan Sagmeisterʼs book ʻThings I have learned in my life so farʼ: http://www.sagmeisterwalsh.com/work/project/things-i-have-learned-in-my-lifeso-far/ This is about exploring the nature and flexibility of type and experimenting with non-print formats.

Your ʻthingʼ learned should be a phrase or sentence specif ic to you. The outcome can be motion based, photographic, illustrative or interactive. It needs to be 3-dimentional and the style/material/typographic approach should (if possible) be appropriate to the phrase/sentence chosen. Example statements from the book: http://lizandleasavetheday.files.wordpress.com/2011/07/sagmeister_things_if_have_l.jpg http://globalmoxie.com/blog/stefan-sagmeister~print.shtml An example of past student work: http://joelewis-collins.com/things-i-have-learnt-so-far-in-my-life.html

*Ensure you have printouts of your outcome (A3 colour) as well as the weblink of your piece (vimeo/youtube) to bring along to the first taught session on the 30th January.

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Global Moxie http://globalmoxie.com/blog/stefan-sagmeister.shtml Stefan Sagmeister’s List of “Things I Have Learned” For anyone working to craft a happy and creative existence (and who isn’t?), this seems like a good list to crib from.

By Josh Clark I just watched a charming 15-minute talk by designer Stefan Sagmeister (probably best known for his album cover designs), who along the way shared a list from his diary of “things I have learned in my life so far.”

Me, I’ve only learned a few of these lessons so far. Still working on the rest. But for anyone working to craft a happy and creative existence (and who isn’t?), this seems like a good list to crib from: • Complaining is silly. Either act or forget.

• Thinking life will be better in the future is stupid, I have to live now.

• Being not truthful works against me.

• Helping other people helps me.

• Organizing a charity group is surprisingly easy.

• Everything I do always comes back to me.

• Drugs feel great in the beginning and become a drag later on.

• Over time I get used to everything and start taking it for granted.

• Money does not make me happy.

• Traveling alone is helpful for a new perspective on life.

• Assuming is stifling.

• Keeping a diary supports my personal development.

• Trying to look good limits my life.

• Worrying solves nothing.

• Material luxuries are best enjoyed in small doeses.

• Having guts always works out for me.

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I decided on designing a setup to photograph in this project. I also thought it was important that the 3-dimensional typographic linked clearly with the phrase I chose. Stefan Sagmeister’s book gave me a lot of inspiration, it opened up my mind to different styles of graphics and how cleverly he made them appropriate to each other. I wanted to produce an image that was both simple and minimalistic but yet had clear thought and creative style behind it.

I opted to work with toothpaste and the appropriate phrase ‘Keep Smiling’. It is very simple but so effective. The toothpaste is the 3D side of the design, I draw out my text before I starting work with the toothpaste; choosing a font that represented toothpaste, quite swirly and joined. I thought it was important to get a toothpaste that had original colours in it, not just white however, as this would look dull. I chose to write onto a mirror as the plan was to have a model standing in the bathroom mirror brushing her teeth – with the caption ‘keep smiling’ written across the mirror.

I found writing with toothpaste harder than I thought it was going to be.

Especially as the words were one continuous line so I could not let go of the squeeze or it would break the line. It went successful thankfully, I then left the piece for a few hours in the hope that the toothpaste will have gone hard, preventing it sliding down the mirror when it was to be tipped vertically.

Keeping the mirror horizontal so the toothpaste wouldn’t slip down I got my model in position. The toothpaste was’t really that hard but it seemed to have set a little bit more. Towards the end of the shoot you could see where it had started to slide down the mirror, but by then the shoot was pretty much over.

After editing the lighting I was very happy with the final photograph. I think the story behind it is clear and easy to understand, while being clever and witty also.

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PßÃØŎį+íæí´ğPà Editorial Design Project Brief

PROJECT ONE

Bristol School of Creative Arts, Humanities and Education BA Hons Graphic Design

Exploring & Developing Practice in Graphic Design

Typography and Print Project 1:

UADAPJ-45-2

Family Monogram

Briefing Thursday January 30th. Crit Thursday February 20th.

See module brief and calendar for interim critiques and assessment details

You will create a monogram for your eldest male and eldest female relatives (one for each). Once will be selected for an embroidered application.

This project is about looking at how personal information can inform the creation and use of typography to convey history, identity and preserve a legacy.

Monograms can be personal but are also used by corporations, sports teams and fashion labels to distinguish themselves and reflect an identity, ideology or ʻbrandʼ. The choice of letterfroms, combination, style, colour and composition are informed by the ʻpersonalityʼ of the individual or company and these traits have to be unearthed in order for the monogram to work well.

A few useful articles about monograms: http://www.markandgraham.com/resources/mark-it-guide/history.html http://tinyurl.com/b97e6rp This is a project about connecting with your past as well as looking to the future – so the better informed you are at this stage the more successful your outcome will be.

Final deliverables: Both an Illustrated and embroidered, material based outcome.

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The main thing my Grampy is known for nowadays is his motorcycles. Now he’s retired he buys, sells and rebuilds them as a hobby and to make some extra money. From all the information I collected about him in the past, motorcycles still stuck in my mind as the favourite theme to go on and produce my monogram to. I thought about using the pipes and stickers as leads...the design I had in my head was quite bold, and very strict lines and corners.

Research:

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When it came to my Granny, she is a very feminine women, who adores her flowers and garden. The information I collected shows that she was was quite petite and girly when she was younger – enjoying collecting stamps and singing in the choir. Her passion now is her garden, selling flowers as a hobby and little business. I wanted her monogram to reflect her femininity, using swirly, curly letters and creating a sort of spindly affect to represent flowers stems.

Research:

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ʼn ğōıÀÃæµįPdíĽIJįíæ įıÀÃæµ Editorial Design Project Brief

PROJECT TWO

Bristol School of Creative Arts BA Hons Graphic Design

Exploring & Developing Practice in Graphic Design

Typography and Print Project 2 Main Brief:

UADAPJ-45-2

Everything about one thing

Briefing Thursday January 30th. Final deadline Wednesday May 7th.

See module brief and calendar for interim critiques and assessment details

You will gather complete knowledge about one single thing and make that accessible for the public in the form of a book supported by a type specimen/rationale.

Choose one thing, object, word, term. The more specific, the more you can zoom in, go into details, the better. Observe it, analyze it, take it to pieces, deconstruct it. Include and mention every detail that, in your opinion, makes it complete. Look at it from perspectives you havenʼt looked from before, discover it in different ways. Work very specifically, accurately and to the point. Have the reader in mind – so what will interest and engage an audience about a potentially ordinary object/subject? How can you make the ordinary extraordinary?

Transform those results into a final outcome that contains both text and image. Compile the material in an order (not necessarily alphabetical) that underlines your system of describing the thing. Develop a strategy/language for treating your material, how to visualize and clarify/explain to the user your way of looking at the thing. Consider the relationship between text and image, the composition, grid use, use of colour, typographic treatments and hierarchy of information.

Find appropriate methods/techniques/“treatments” to adapt to all of the imagery/text that provides a consistent look and feel to your final publication. Strive for excellence both with your typographic applications and production techniques.

The form of your final outcome (size, binding, stock etc.) should be appropriate to the content and intention of your work, be fully resolved and show attention to detail in all aspects of its content, design and production.

The workshops and short projects in the first half of the module enable you to develop your technical skills and explore ways of working that contribute to the development and resolution of this brief.

Useful references: Taking Things Seriously: 75 objects with unexplained significance” by Joshua Glenn & Carol Hayes, Significant Objects by Rob Walker and Joshua Glenn, ʻSchottʼs Original Miscellanyʼ by Ben Schott, ʻThe Thingsʼ by Norm, ʻVisible Worldʼ and ʻThe Way Things Goʼ by Peter Fischli & David Weisss, ʻAll the Clothes of a Womanʼ by Hans-Peter Feldmann plus any and all encyclopedias you can get your hands on.

Typographers: El Lissitzky, Joseph Muller Brockmann, Wim Crouwel, Ed Fella, Jan Tschichold, Rudy VanDerlans, Lars Muller, Abbott Miller, Emil Ruder, Paula Scher, Herbert Bayer, Armin Hoffman, Ellen Lupton, Max Bill…

Type Designers: Zuzanna Licko, Max Miedinger, Erik Spiekermann, Luca De Groot, Tobia Frere-Jones, Fred Smeijers, Eric Gill, Matthew Carter, Paul Renner, Jonathan Barnbrook, Peter Bilak, Adrian Frutiger, Jonathan Hoefler References: http://significantobjects.com/ http://www.bbc.co.uk/ahistoryoftheworld/ http://www.bbc.co.uk/programmes/b00k3wvk (museum of curiousity) article on The museum of innocence

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Hans-Peter Feldmann’s understated documents of everyday life seem to stand each on their own, independent of his larger body of post-Conceptual work.

Incorporating snapshots and amateur photography into immediate, communicative studies of quotidian existence, Feldmann encourages an almost archival appreciation of the world around us. The series All the clothes of a woman (1973) shows what the title describes—70 items of women’s apparel, photographed one by one. The clothes, like the images, are modest; still the artist remains at an emotional distance, as if merely displaying something he has found, leaving resonance and meaning to the viewer.

Carmen Hermo

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Interview

This publication is an interview on my chosen subject – Keeping Chickens. I am conducting my interview with my mum’s friend Lesley as she knows a lot more about chickens than I do. Ever since she was young she has owned chickens, on the farm she grew up on. Therefore, I thought before I indulge any further into how to keep chickens, I would ask her a few key questions on some aspects of chicken keeping I am not so confident about. Whenever we have a question or concern about a chicken she is the first one on the phone. She knows more about chickens than anybody else I know, as well as having chickens as pets, she also has a free range egg business when she produces and sells to local shops and garden centres. Most of her knowledge about chickens has been learnt from her mother, Les says she used to watch her mum from a very early age out in the chicken pens. She has learnt a lot by just being in the trade too, selling chickens and eggs.

The interview is going to qualitative and free flowing, more of a conversation. I want Lesley not to feel pressured, and be able to talk freely and truthfully about the experiences and difficulties she may have encountered throughout her years of keeping chickens.

I am conducting the interview sat in her back garden over-looking the fields of sheep and cattle while her chickens scratch around under the table waiting for me to give up my biscuit. Her farm is an ideal sanctuary to keep chickens, along with all her other poultry and farm animals.

1. What’s the main reason you keep chickens?

I’ve always had chicken’s so it would feel weird if I didn’t have any. They’re just part of the garden I guess. The dogs and children get on well with them and they give me joy every time I go outside.

Business wise though I keep them for their eggs.

2. Do you favour any of your chickens or have a favourite breed?

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Favourites come and go, my favourites are usually the older chickens though, the ones I’ve reared from chicks and have spent their whole life on the farm with me. They understand that I’m not going to harm them and therefore are the friendliest. Favourite breed though would probably have to be Bantams, Pekin Bantams usually. My son Jamie gave me a few not long ago, and now it seems to be all I have at the moment, well out of the chickens that live in the garden that is. They have a content, docile nature not flighty birds generally but can be harder to tame than some breeds.

3. Do you buy chickens from other breeders?

I do buy chickens, from a variety of breeders though. I normally go with my son to the poultry market every month or so, either in Hereford, Ross-on-wye or Cirencester. The market houses over 400 birds selling all types of poultry from geese to pigeons. They are lined up in cages with numbers on, they get auctioned off cage by cage. You have no idea who the breeder is or where the birds have come from if it doesn’t say on the cage. You just have to go by your knowledge and instincts about chickens as whether the bird/birds is healthy and suitable. I can say I have never bought a bad batch back.

4. Do you have a certain routine with your chickens?

My routine starts at about 6.00am. After breakfast the pet chickens are next to be fed, they are only outside the back door so it doesn’t take long. I let them out their runs feed and water them all together in the drive. Then off up the farm to feed the free-range chickens and the rest of the farm animals. The chickens fill their day with scratching about the garden, escaping into the field, laying eggs in their pens etc. I feed them scraps and greens around 2o’clock, then back out at 5.30pm to shut them up. They are good and are usually in by then, unless it’s really light still.

5. Do you raise your own chicks?

I do raise chicks but not often, only if a hen gets broody and chicks hatch I will raise them, but I don’t encourage them to have chicks as there is enough baby animals on the farm as it is. My youngest son does love it when we get chicks hatching though.

6. How much do you know about the anatomy of a chicken? And do you know of any illnesses?

Oh god (laughs). I know the basics, mainly the digestion side of the anatomy. I know the crops purpose and how to prevent or help cure problems with that. I know quite a few illnesses off the top of my head; Bumblefoot - an infection underneath the foot, Coccidiosis – a parasite that is ingested by the bird, and attacks the digestive system and gut, tell tail signs of this are blood in their poo. Marek’s Disease – highly contagious disease that attacks the white blood sells and immune system in chickens, causing them to have paralysis in there legs and is always fatal. Thats the main most common illnesses I know that are internal. Other problems like eye infections and ear mites are a lot easier to spot and treat.

7. How is your egg business doing? What made you start selling eggs?

It is going very well thank you. I deliver to a list of local clients regularly and am making steady profit. I started it just for a bit of extra money, as keeping the chickens costs me next to nothing anyway, and we already have the land and hen houses. It wasn’t a hard business to set up, due to our good reputation with our sales of livestock some traders didn’t need much convincing. Evidence of conditions and birds was required at some local establishments but I would expect nothing less.

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8. What do you feed your chickens on?

My chickens are fed on Layer’s pellets. They also have corn and grit regularly, as well as scraps from the kitchen, greens, fruit, bread etc.

9. Have you had any encounters with any predators?

We have had countless encounters with foxes ever since I can remember. As it’s a working farm we have farm dogs that are on look out 24/7 but foxes are very sly, the dogs go inside for 10 minutes and they can take the whole flock. It’s disheartening when situations like this occur, especially when it leaves behind such a mess. I always have my pet hens roaming around the garden though, they learn to stay inside the gate and if they have any sense, not to enter into the big field. Other predators like hawks and badgers we don’t have a problem with here.

10. How do your other animals get on with you chickens?

I’ve always kept ducks with my chickens, they get along absolutely fine together. I’ve had guinea foul and geese in the past which have also got along fine with chickens. Our dogs have all been brought up on the farm from pups so are used to all the livestock and poultry. The chickens don’t really have any contact with the cattle of sheep unless they escape into their paddocks, which has happened on a number of occasions, but they don’t interact with each other, just ignore each other if anything.

11. Do you have any problems with rodents?

Yes, living on the farm it’s too hard to be fully rid of them for a long period of time. We just have to control them to be honest. Using poison is the easiest way, making sure it’s hidden away from any of the other animals. Our feed and bedding is all clean any tidy in the barns, but they still find food to scrounge off. Mice aren’t really the problem, rats are more the issue as they can spread disease and tend to do a lot more damage.

12. How many chickens do you have?

At the moment I’d estimate at about 20 pet chickens and 30 free-range laying chickens. This is a controllable amount, as the pet chickens are mainly Bantams they are quite small. And the free-range hens need to be a decent number in order to lay enough eggs to keep my business going. I would recommend beginners to get a least 4 chickens, any less will argue and bully each other.

Reflection The interview has given me a better insight into what keeping chickens involves. I learnt quite a bit from what she explained and am now happy with the knowledge she’s provided to go and write my book on the subject of keeping chickens.

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!æĤıP´ğPàį=PĤÖ This classroom exercise tasked us to create something that visually represents what you’re producing your book on and photograph/video it, posting it on Instagram with the hashtag #typenowhere.

As my book is about chickens I thought it only necessary I create a chicken sculpture.

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Photographh

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BOOK REFERENCING Living with Chickens Author: Jay Rossier Choosing & Raising Chickens Authors: Jeremy Hobson & Celia Lewis Keeping Chickens Author: David Squire The Healthy Hens Handbook Author: Terry Beebe Haynes Chicken Manual Author: Laurence Beeken

WEBSITE REFERENCING Keeping Chickens: A Beginners Guide http://keeping-chickens.me.uk Animals- WHAT TIME DO HENS USUALLY LAY? http://animals.pawnation.com/time-hens-usually-lay-1287.html WHITE LEGHORN & RED STAR http://blueyurtfarms.com/my-two-favorite-chicken-breeds/ Black Sex Link chicken http://www.backyardchickens.com/products/black-sex-link-chicken

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This type specimen explains the thoughts and decisions I made when creating my book project ‘Everything about one thing’. It includes controlled methods I used to help me produce my book, such as grids and margins and what choices I made and for what reason.

My produced book features a lot of photography, the images are what make the book attractive and appealing I believe. There is limited use of colour because of this, with the photographs being enriched with different colours and tones, meant there was little room for type or shape colours. My type specimen reflects the design of my book.

GRIDS I went for a basic layout of 4x4 columns, gutter 0, I wanted a structure when lining up image and text parallel to each other but also wanted some leniency for illustrations and smaller text.

MARGINS Using a 10 mm margin worked well for my images, as I had some that covered the whole page and some that stopped at the margins. Leaving space near the spine for the book to be perfect bound.

TYPE WALKWAY Designer Graham Meade Foundry GemFonts Published 2001 Country of Origin Australia Classification Sans Serif I took me quite a while to choose which text font to use. I was looking for a fine sans serif font that portrays a soft, delicate effect. I also wanted the font to be rather condensed and tall, but clear and readable of course. I was searching fontsquirrel.com and

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came across the font Walkway. There is various styles in this typeface which is exactly what I was looking for – room for variation within the boundaries of one type face. I used Walkway Condensed for most of my text, Walkway Condensed Bold when highlighting a subheading and Walkway Rounded for titles.

EXPRESSIVE TYPE SOUTHPAW Designer Tyler Finck Published December 17, 2013 Classification Handwriting My expressive font didn’t take me long to find. I was looking for a handwritten script style type face for headings and the cover. I usually get my fonts from dafont.com, when browsing the script > handwritten section found the font Southpaw. It caught my eye straight away, the boldness and italics matched the look I was searching for. I chose to have a font in this style as it contrasts great against the Walkway font and portrays a slightly feminine, modern design feel which is relevant to my books subject.

COLOUR Colour wise I wanted to use colours that were in-keeping with my subject. Neutral, dull colours seemed to suit the topic. With there being a lot of photography in the book, colours weren’t too important, I featured three different colours throughout the book a pale cream, a light beige and a mid grey. The cream and beige I used for backing heading and photos. The grey I used for illustrations.

SHADOWS Shadow is used on most pages, to shadow an image or heading. I like the modern contemporary effect it gives and makes the page not to flat and dull. I have used the same effect level throughout the book.

PHOTOGRAPHY Photography is a important part of my book. It covers at least half the book with imagery on nearly every page. All the images I have taken myself on my Canon 1000D. I shot endless shoots to have enough varied imagery which was very time consuming. The photos portray my subject well and connect to the text making the readers experience more interesting and understandable.

Size of the placed imagery depends on the page layout, varying from left to right alined, only ever being centred if the photo takes up the whole page. The photographs are rich with different colours and tones, I managed to get some shoots done on really clear, sunny days so when reviewing them and choosing my favourites, I even had to lower the brightness on a few.

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PAPER STOCK I don’t want the inside pages being too think a stock. 120 gsm is perfect to keep it light enough without the pages being thin and too delicate. I also desire a matte finish on the pages, I think matte gives the book a classy look as also I don’t want the photography looking shiny.

For the cover of the book I want a thicker stock. 350 gsm was the stock I went for in the end after discussing with the printing company.

BINDING To give my book a quality finish, I have decided the binding style is to be prefect bound. I believe this style always looks the best finished. To do this you start with arranging your pages so they are in the correct order and placing them appropriately inside each other. Adhesive glue is then applied to the spine of the book and pages glued together.

COVER I used a photograph to be the cover of my book. It’s an eye-catching image with a contrast of light and dark colours in it. For the heading colour I used white as it stood out the most effectively. I used my expressive font Southpaw for the title of the book, and to finish it I drew a line underneath with the pencil tool, edited it to make the edges clean and added a shadow to both.

My book is 240x220mm, I chose this size as I wanted it to be different to the standard A4, A5­ sizes. It’s lightly wider as it is high so the photographs cover the page perfectly.

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Page examples.

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íßĉØ į:ÃßĉØÃqÃıŎ Editorial Design Project Brief

PROJECT THREE

Bristol School of Creative Arts, Humanities and Education BA Hons Graphic Design

Exploring & Developing Practice in Graphic Design

Typography and Print Project 3:

UADAPJ-45-2

Complex Simplicity

Briefing Thursday February 20th. Final crit Thursday March 13th.

See module brief and calendar for interim critiques and assessment details

You are required to create an infographic with personal information that helps merge typically unrelated content and form.

The Wikipedia definition of information graphics goes as follows: ʻInformation graphics or infographics are visual representations of information, data or knowledge.

These graphics are used where complex information needs to be explained quickly and clearly, such as in signs, maps, journalism, technical writing, and education. They are also used extensively as tools by computer scientists, mathematicians, and statisticians to ease the process of developing and communicating conceptual information.ʼ Information graphics are at the heart of the way we communicate, either through simple use of images and diagrams, the written word or unspoken communication. Through the use of representation, designers are able to communicate complex ideas within an understandable frame of reference of ʻmental categoriesʼ that we all share.

This project tasks you with producing an infographic of something that has a personal connection to you which uses infographic techniques to present the information.

Select a period of time from your life in which you were involved in a series of events. The time period and the events are up to you. You are tasked to explore how to tell the story on a single surface, and how personal information can be shaped by using a public graphic language. Both the period of time covered and the events that occurred within it should be evident in the design.

Use type, graphic elements, photographs, illustrations – anything you wish, as log as the information is clearly communicated in a method suitable and appropriate to the content. You can incorporate 3D elements, motion graphics, tactile methods, etc.

The focus here is on ensuring that the subject you choose and the content you gather is comprehensive to enable the clearest re-presentation of the information for the viewer.

This project gives you the chance to explore text, composition and structure. You should use the classroom exercises and masterclasses to develop, and resolve this work.

This should be presented at the critique on Thursday March 13th, and also at the final assessment on Wednesday May 7th Designers to look at: Nick Felton, Accept & Proceed, David McCandless, Edward Tufte, Ciaran Hughes, David Macaulay, John Grimwade, George Rorick, Henry Beck, Otto Neurath, Andrew Vande Moere, Manuel Lima, Joachim Sauter

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Examples of a few of my favourite infographics I found while researching.

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I decided to produce my infographic on roller-coasters and their thrill level. I like infographics that are map based, I think they are interesting and make your unconscious mind imagine and grasp the piece’s theme/subject in a in a way you wouldn’t usually broaden to.

I have traveled Orlando, America before, therefore have experience and based this infographic on my own opinion and experience. I based the theme around ratings, I gave each ride a rating out of 5, this being the Thrill’o’meter.

Making the map of the section of America was very time consuming. Colours and lines were very important, I wanted the colours to look affective at the same time as not interfering with the main focus. Landmarks are featured where the roller-coasters are on the map, the yellow path coming from each photo indicates which its from.

Majority of photography was my own, it was impossible to picture anymore however. I researched into each roller-coaster thoroughly finding out interesting facts and information , many are included in the piece.

I wanted to go for a modern design, bright and noticeable. With the heading ‘Orlando Thrill’o’meter’ it is visually obvious when you read each tag next to each image what the infographic is portraying, which is the whole idea of an infographic.

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+PğÖ į íßß ßíğPı į9 ß ßd ğ Editorial Design Project Brief PROJECT FOUR

Bristol School of Creative Arts BA Hons Graphic Design

Exploring & Developing Practice in Graphic Design

Typography and Print Workshop Project:

UADAPJ-45-2

Mark, Commemorate, Remember

Briefing Thursday February 6th. Final hand-in Wednesday May 7th.

See module brief and calendar for interim critiques and assessment details

You will produce a screenprinted A3, 2 colour (spot colour) typographic poster to commemorate the First World War Centenary.

Content for this project will be supplied to you at your Indesign workshop and design must be completed prior to attending your screenprinting workshop. You will have a limited amount of time to produce your final outcome, which will push you to make rapid but considered decisions about composition, hierarchy and colour use.

Your point of reference for these designs will be the International Typographic Style pioneered by the Swiss designers of the 50s, 60s and 70s. These designers adhered strongly to formal, structural compositions that utilised a range of grid structures and simple colour schemes. Emphasis was placed on dynamic composition and hierarchy of information using san serif typefaces, letterforms and shapes rooted in architectural structure. (see references below) You will be given a grid template along with set text that must be used on your final poster.

Research propoganda posters from the period (as well as those created during WW2) and the international typographic style in preparation You will need to bring 2 sheets of folex to the Indesign workshop which you can buy from the art store and bring £5 to your screenprinting workshop (for screens) Workshops begin on Friday 7th February. Details of these are available in the module brief and calendar. After the initial workshops, you will all have one follow up support session in order to complete your final outcome and output the folex plates necessary to produce a screenprinted poster.

Learning outcomes Along with furthering your knowledge of Indesign, this project will help you develop use of type and grids to create a range of outcomes with a focus on colour separations that looks at the technical and financial implications of print decisions - in this case screenprinting.

Useful References Swiss Typographers and Poster Designers: Armin Hoffman, Joseph Muller Brockmann, Wim Crouwel, Emil Ruder, Hans Hartmann, Hans Neuberg, Max Bill Website for the First World War Centenary: http://www.1914.org Swiss Poster designs: www.internationalposter.com / keywords “Typographic Style” World War 1 poster collection: http://www.loc.gov/pictures/collection/wwipos/ Imperial War Museumʼs posters of conflict collection: http://www.vads.ac.uk/collections/IWMPC.html

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MAX BILL Swiss arcitect, artist, painter, typeface designer, industrial designer and graphic designer.

ARMIN HOFMANN Swiss graphic designer.

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Wim Crouwel

Dutch graphic designer, type designer and WIM CROUWEL typographer.

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EMIL RUDER

Swiss typographer and graphic designer.

JOSEF MULLER-BROCKMANN

Swiss graphic designer and teacher.

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Examples of a few of my favourite Swiss designs I found whilst researching.

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I find working to a limited brief quite endearing. The colour’s I used suit each other well, I didn’t want any clashing, I was going for a subtle but bold look. I also wanted to use the technique of over-lapping the colours in screenprinting. My design is rather basic but then so are Swiss posters. It’s not often I centre my work but hear I think it is appropriate.

Armin Hofmann’s piece below was my inspiration. His two letter piece caught my eye when researching so decided to join up my heading in relation to his.

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Examples of typography and layout I like found in fyers and menus etc.

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Module File by Amy Richards