404 Design Boards

colour

rebecca moorcroft 264452 // OUGD404

Figure 1 This photograph was taken on a sunny day not far from university, I chose them as I really like the temperature of the image, the sun is shining on the autumn leaves to create vibrant colours, as well as the sky being bright blue I was able to get a whole rainbow of colours from the photo.

Figure 2 To contrast the photograph and swatches seen in figure 1, I used a different photograph of a dirty alleyway to see what colours could be picked from this scene. The colours are interesting, possibly more so than in figure 2 and this has taught me that sometimes looking in less obvious places for inspiration is what needs to be done.

Figure 3 I decided to stick to two colours for each book, with one remaining the same - Pantone ‘Cloud Cream’. I felt this colour would match with most other shades so works as a good base. Cream is also seen as a classic yet timeless colour so suits these books as they are seen the same.

Alice In Wonderland - The use of ‘sky blue’ is relevant to a number of things in the book - for example, it is a summers day when the story opens, Alice cries several times throughout the book (some of which create a sea), as does she drink a number of magic liquids.

The Great Gatsby - Pantone colour finder was not something I was aware of at the time of my initial designs, it has proved very useful to me.

There was a choice to make between this gold, and the royal blue seen in the original design however I thought the gold was better suited to the contents of the novel - the money present and pure lavish of Gatsby’s character.

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Lolita - I chose a red/pink that is relevant as it is seen as a colour of seduction, this is how Lolita is portrayed in the novel.

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layout

rebecca moorcroft 264452 // OUGD404

Figure 1 Finished outcome for the Penguin Random House Competition, using grid on the front cover enabled the positioning of the illustration to be centre, with the text and lines directly and precisely underneath. A separate grid was used to create the back cover, with the type being set to the same paragraph style and bird illustration fitting within the width.

Figure 2 A grid was used to compose the booklet, which consists of 2 a3 pages for the content and 1 a4 page for the cover. The a3 pages have a guide across the centre horizontal with 3 vertical to divide the page into 8 separate sections.

The purpose of this was to ensure all of the information would fit in the small document with roughly a section each - apart from the topics that need more space such as use of IKB in Graphic Design.

Figure 3 An A3 poster developed for personal and professional practice module talking about the things I have learnt, one being layout design, using a personalised modular grid - 10mm margins and 5 columns with a 5mm gutter, as well as 5 rows using a 5mm gutter. With this grid the text, images and shapes were added to create a stylistic poster that used strict guides.

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typography

rebecca moorcroft 264452 // OUGD404

Figure 1 An example of a document I put together in my own time, a CV. The fonts used are Dosis in Medium and Baskerville in Regular and Italic. The use of a sans serif for headers is so that they stand out and draw attention, with the body text in a more readable serif font, with regular used for key points and italics used for going into detail as it takes up less space and is optional to read as it is extra information.

Figure 2 The use of Helvetica is seen in this self branded logo, the reason being it keeps it minimal and doesn’t give much away about my design style as I am still unsure of what area or whether at all I’d like to specialise. The type order shows a break down of my branding name - re.beccalouise (regarding: becca louise).

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Figure 3 Choosing the typeface Titillium was a design decision, the reason being it is a contemporary sans serif that is striking yet not overly attention seeking, allowing the information to stand out however not detract from the design of the overall poster. It is clear to read from afar and works well in both regular and bold for the different parts of information. The selection of a contemporary typeface was to contrast the old style fashion design illustrations.

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format

rebecca moorcroft 264452 // OUGD404

Figure 1 This screenshot is showing the overall view of the document, the pattern comes off the actual page as to continue the pattern however this isn’t an issue as it will be cut when the file is exported to a pdf or png.

Figure 2 Corresponding with figure 1, the document was set up to use the marber grid. The document is the correct size for a penguin book - height 197mm, width per cover 129mm with a spine of 25mm giving an overall spread width of 283mm.

Figure 3 An a5 booklet as any bigger would not have worked with the content or the overall feel of the document as a informative quick read. I chose landscape as I believe it looks better and reads as a booklet more than an a5 portrait document. The paper I used to print on was a3 slightly off white newsprint style. I chose this as I believe it adds to the design of the booklet, rather than plain white paper it gives a more professional feel. The added tracing paper was to further the quality of the booklet.

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final outcomes

rebecca moorcroft 264452 // OUGD404 figure 3

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A1 poster design for an exhibition titled ‘Balenciaga: Shaping Fashion’ in the Victoria and Albert Museum in London.

Figure 2 A six page spread A5 booklet holding information on colour in graphic design, Josef Albers, International Klein Blue, Pantone, and a set of swatches from primary photography.

Figure 3 A set of Penguin book designs using the Marber grid: Alice In Wonderland, The Great Gatsby and Lolita.

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