1
BA
GRAPHIC
COMMUNICATIONS
CONTENTS
LETTERFORM 2 3-5 6 7 8 9-12
Weeks
DESIGN
OBJECT of
type
EXERCISE Title Modernist layout Typographic systems Outcomes
DISCOVERY 21 22 23-25 26 27 28 29
Matthew
Title Classifications Type resources Roughs Development Outcomes
LAYOUT 13 14 15 16-20
PAGE
POSTER
Title Research Fonts Thumbnails Roughs Rough visuals Outcome
30 31 32-33 34 35 36 37-38 BIG
Title Illustrator Photography Research Rough visual Method Outcomes
FIGURE
39 40 41-44 45
Title Mind map Research Development
COMPLEX 46 47 48-49 50 51 52-53 54-55
CHARACTER
Title Mind map Research Rough visual Layout Method Outcomes
2
BA
GRAPHIC
COMMUNICATIONS
COMPLETION DATE
30/09/09
Matthew
LETTERFORM DESIGN
Weeks
PROJECT
AIMS
To explore the expressive qualities of letterforms To learn about letterform structure and aesthetics
3
CLASSIFICATIONS SERIFS
AND
SAN
SERIFS
Serifs is a french word that, when translated, means feet. Sans is the french word for without. Therefore serifs are typefaces with feet on the downstrokes and san serifs are without feet.
AA SCRIPT
Script is based on handwriting and the letterforms are often joined. Because of its link with handwriting, the line thickness changes as it would with a nib.
S CRIPT ROMAN
Roman letters are upright, straight and solid in form.
RN
OF
ITALIC
EXPANDED
Italic letters are both slanted and feminine. They are redesigned versions of the original letterform.
Expanded letterforms are also known as generous. They are bloated in their appearance.
italic
MAJUSCULE
Majuscule letters are authoritative, loud and masculine when compared to miniscule. They are also known as capitals or upper case. They are referred to as upper case because they were less used in printing and were therefore kept on the higher shelf.
UPPER MINISCULE
Miniscule letters are friendly, formal and feminine when compared to majuscule. They are also known as small letter or lower case. They are referred to as lower case because they were more widely used in printing and were therefore kept on the lower shelf.
lower
EX SQUARE
Square letterforms are considered neutral as they lie between condensed and expanded. They are of natural form.
SQUARE CONDENSED
Condensed letterforms are narrow in appearance and often called this as a definition. They are tall and thin.
condensed
TYPE
4
CLASSIFICATIONS DISPLAY
FACE
Display faces are used on shop signs and logo’s because they are attractive and memorable. They were first used when the Victorians wanted to advertise their product or business and needed something to bring awareness.
DISPLAY TEXT
FACE
Text faces are widely used in magazines, books and newspapers. They are readable and work well were large amounts of information are needed.
TXT
BIFURCATES/TRIFURCATED
OLD
This describes the form of a downstroke that splits into to or three sections
Old faces are strong, they have medium downstrokes and bracketed serifs. Times New Roman is a popular example.
When one letter sits inside another it is called nesting
C Q
FACE
OLD LIGATURES
If a letter is physically joined to the neighbouring letter, it becomes a double ligature. It is commonly used on logo’s as it can look comfortable and effective.
THE GOTHIC
NESTING
OF
Gothic letterforms are dominating and bold. It has a religious feel as the bible was printed in it. It has diamond serifs and thick downstrokes. Also known as Blackletter.
GOTH
MODERN
FACE
Modern typefaces have thin serifs, known as hairline serifs, and have thick downstrokes. They are extremely attractive typefaces. A good example of this would be Bodoni
MODERN TRANSITIONAL
FACE
The downstrokes are more delicate on transitional typefaces when compared to modern and old face. The letterform is narrow and has thin serifs. Baskerville is a transitional face.
TRANS
TYPE
5
CLASSIFICATIONS GROTESQUE
SLAB
Grotesque typefaces appear quite simplistic and have a large x-height. They are dominating and legible. Helvetica is a grotesque typeface.
These typefaces have thick, block serifs which hold the letters to the page. They were used on wanted posters in America so have a menacing association.
GROQ
SERIF
BOWL
SLAB
APEX HUMANIST
Humanist typefaces are square and have an upper case similar in proportion to that of Roman capitals. Gill Sans is a humanist typeface.
HUMAN
CLARENDON
Clarendon typefaces have bracketed serifs, making them more friendly and not as harsh and straight.
CLAR
This typeface is made up of perfect circles and straights, hence the name geometric. It has a large x-height and looks clean and delicate.
FUTURA
A H
COUNTER
ASCENDER
CROSSBAR VESTIGIAL
GEOMETRIC
p
OF
SERIFS
These serifs are very slight and appear to only just bleed out from the downstrokes. They are attractive and unusual.
SERIF
OPEN
G
COUNTER
DESCENDER
TYPE
e k p
6
TYPE
RESOURCES PHOTO’S
TAKEN
FROM
GRAVEYARD
7
ROUGHS
THE
BRIEF
STAGE 1 Produce many variations of the letterforms B and C. Work systematically through a range of possibilities e.g., serif/san serif, stroke thickness, exaggerating curves, etc. Repeat with lowercase STAGE 2 EVALUATION I found that my favourite design was this letterform. I liked the form of the object and the thick downstrokes. It looked solid and structured. The three words that I used to describe it were: AUTHORITATIVE REGAL PROUD
8
DEVELOPMENT TOP HEAVY UNSTRUCTURED
THE
ELEGANT DECORATIVE BALANCED
BRIEF
STAGE 3 Recreate the forms in order to emphasise the aesthetic and expressive aspects listed STAGE 4 Choose the letterform with the most potential and produce a final perfect version
STRONG STRUCTURED SQUARE
MOTION MESSY SPEED
REQUIREMENTS
Aesthetically beautiful structure Fully expressive of the personality given Black, white and grey 210mm x 210mm Include descriptive words and name
PLAYFUL SIMPLE
WIDE UNBALANCED UNMATCHED
DANGEROUS OBLIVIOUS
BULBOUS HEAVY DOWNSTROKES
9
OUTCOMES
EVALUATION
RUTH Delicious Original form Good choice of font for words SUGGESTIONS Placing could be slightly lower Words might be better in grey Name missing No need for initial caps. JULIAN DEBORRE All letters in miniscule Words in stronger composition Clearer path for the eye Make the B smaller
Authentic Proud Regal
10
OUTCOMES
IMPROVED
LETTERFORM
I made the changes to the layout and form of my design and I can see the improvements. The text supports the letter and the whole piece feels more stable and aesthetically pleasing STAGE 5 Change the letterform to suit the new personality; nervous and bewildered. Possible changes in media/tools/scale/quality of line/weight etc. REQUIREMENTS
Weeks
The basic structure must remain the same Colour may be used to intensify expression
authentic proud Matthew
regal
11
OUTCOMES
EVALUATION
KASIA Design is beautiful Top form sits well on page SUGGESTIONS Not sure that letter is bewildered JULIAN DEBORRE
Weeks
Beautiful form Nervous is expressed well
authentic proud Matthew
regal
12
OUTCOMES
IMPROVED
LETTERFORM
I have made the letterform more bewildered by introducing erratic marks inside the letter. I have also made the B smaller so that it is less dominating and more nervous. I decreased the intensity of the personalities descriptive words and my name to make the letter less stable EVALUATION
Weeks
I enjoyed this project as it got me interested in typography. I liked learning about the technical side to typography and creating my own letter was extremely rewarding. I’m really pleased with how my letterform has developed and I have listened to all feedback carefully
Matthew
bewildered nervous
13
BA
GRAPHIC
COMMUNICATIONS
COMPLETION DATE
08/10/09
Matthew
LAYOUT EXERCISE PROJECT
AIMS
Weeks
Extend understanding of layout and the use of positive space Improve appreciation of the meanings communicated by different layouts
14
MODERNIST
LAYOUT
THE CAREFUL POSITIONING OF THE ELEMENTS ON THE PAGE TO CREATE A BALANCE BETWEEN POSITIVE AND NEGATIVE AREAS
Jan Tschichold Konstruktivisten poster. 1937
Modernist Principles of Layout:
Balance Contrast Hierarchy Repetition Path of eye White space
Beat the Whites with the Red Wedge, a 1919 lithograph by El Lissitzky.
The intrusive red wedge symbolises the workers, who are penetrating and defeating their opponents, the Whites (capitalists/counter revolutionaries), during the Russian Civil War.
15
TYPOGRAPHIC
SYSTEMS
Typographic Systems by Kimberly Elam takes a detailed look at systems set up by designers in order to achieve the perfect layout. The book also includes pages of tracing paper with matching marks opposite the original pieces of work. These markings deconstruct the image and allow the viewer to learn from these techniques and try it for themselves.
16
OUTCOMES
THE
BRIEF
STAGE 1 On A4 paper, produce 2 of the following 4 layouts: Portrait, symmetrical Landscape, symmetrical Portrait, asymmetrical Landscape, asymmetrical REQUIREMENTS
Minimum of 3 elements Maximum of 5 elements Regular box of text A heading An image
Hierarchy - Path for the eye starts at top text, runs down, and the coloured squares bring you back to the centre of the page.
Portrait Asymmetrical
FEEDBACK
Good hierarchy and eye tracking Lennon portrait sits well Walks round the page well Not hurried Clever use of squares Tone of photo calming Geometric shapes comforting Good contrasting
White space - 2 L’s holding the objects
Repetition of the squares
17
OUTCOMES
FEEDBACK
Provides breathing space Shapes work will with layout Good orientation
Hierarchy - Path for the eye starts at top orange bar, runs down to picture and text, and the orange triangle brings you back to the top orange because of the colour and the angle
Portrait, symmetrical with asymmetric focus
White space = Holds the text and image with the orange strips
Repetition of orange bars
18
OUTCOMES
Dynamic and assertive - Layout has been designed to form the shape of a hammer
Hierarchy - The red title guides you down to the text. The red dots stop you falling off the page THE
BRIEF
STAGE 2 Produce two layouts where one is calm and serene and the other is dynamic and assertive REQUIREMENTS
Make the layout as expressively powerful as possible Perfect the aesthetic quality Maximise the power of the white space
Portrait, asymmetrical
Calm and serene
White space = Layout stops falling off the page because of the black strip
OUTCOMES
THE
BRIEF
calm and serene
19
STAGE 3 Rework the layouts on computer using text that describes the work and a heading of either calm and serene, or dynamic and assertive.
EVALUATION Dynamic and Assertive I feel comfortable with this design as it suits the brief, but isn’t too obvious in its delivery. The use of positive space works well with the image, as it is powerful, but not undermining or deterring. The legibility is aided by the use of a good contrast in colour, with the bold red and striking white, and a suitable font size. The use of initial caps adds to the fierceness of the design, and invites you to read the text that follows. The colour scheme provides a confident visual image that is both attention seeking and at the same time quite edgy. The offset design is fitting to the brief as it delivers an anxious feel, as well as demanding you to take in the design. I have arranged the imagery and text into a hammer that is in the process of striking the border. I think this keeps the viewers attention focused on the design for longer, and also provides a shocking visual element without dominating the space. The three dots that make up the hammer are violent and could be interpreted as blood splats leading away from the impact point.
I believe that my modernist layout has been a success, due to the positive feedback that I have received, and because only now can I fully appreciate the modernist approach to design. The negative space that I have used in my layout acts as a positive, and provides the graphics and text with room to breathe; it is not held back by the space. The eye tracks the layout in a way that is not too commanding or forceful, but you are comfortably taken for a walk around the page. The photo used is gentle in itself because of the cool tones, and its calming interaction with the rest of the design. The geometric shapes are comforting and are subtle; they do not distract the viewer away from the information, as it is clear and welcoming. The contrast suites the theme as the colours used are delicate and soft. The shapes work well with text as it provides two tracking points to be linked up without cluttering the area around the text. The layout provides strong orientation, where the information is delivered to the viewer, but without grabbing them by the throat and shouting at them.
EVALUATION
Calm and Serene
I believe that my modernist layout has been a success, due to the positive feedback that I have received, and because only now can I fully appreciate the modernist approach to design. The negative space that I have used in my layout acts as a positive, and provides the graphics and text with room to breathe; it is not held back by the space. The eye tracks the layout in a way that is not too commanding or forceful, but you are comfortably taken for a walk around the page. The photo used is gentle in itself because of the cool tones, and its calming interaction with the rest of the design. The geometric shapes are comforting and are subtle; they do not distract the viewer away from the information, as it is clear and welcoming. The contrast suites the theme as the colours used are delicate and soft. The shapes work well with text as it provides two tracking points to be linked up without cluttering the area around the text. The layout provides strong orientation, where the information is delivered to the viewer, but without grabbing them by the throat and shouting at them.
IC
AM
DY N
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&
E
AS SE RT IV
20
OUTCOMES
Ma
tth ew we ek s
21
BA
GRAPHIC
COMMUNICATIONS
COMPLETION DATE
16/10/09
Matthew
DISCOVERY POSTER Weeks
PROJECT
AIMS
Synthesise current knowledge through a practical project Increase understanding of the meanings expressed by form and layout Introduce a working method
THE
I m fou N an nd m ot o y s thi cu od nl imi s la th ttin ern y is lar yo fo e p g ist it itie ut in rm iec edg lay a s s th on fo for ati e g e. ou uc at the nt m on iv T t b ce it siz ati . I e he ut ssf ha inte es on wa it d di it ul d rn an is s i ep ffer is a bla wit et d in mp th en ls ck h t an h d gr th r an t t o ad ere es d on sty and is p fo ie , a sed ad al lish w ro und nt s s. w wi d to qua an hite ject . el th l a ho its litie d s d w int s o iff mu rica f er c te en h t
22
RESEARCH
BRIEF
STAGE 1 Find 8 great examples of letterforms which have stylish and/or cutting-edge as an expressive quality.
Eventually, these will be put into a layout.
23
High contrast between the strokes
FONTS
Taken from a copy of The New Yorker
THE
NEW
YORKER
Beautiful and unusual Art deco feel
CHAMPAGNE
AND
LIMOUSINES
All the really desirable characteristics of the style, but with a different feel.
ABCDEFGHIJKLMNOPQRSTUVWXYZ
Taken from a book of hand drawn type by Mike Perry
Found on Dafont.com Elegant, with beautiful curves
Geometric sans serif
YOUNG
TIZZLE
Illustrative, abstract, textured quality
24 Designed between 1924 and 1926 by Paul Renner
FONTS FUTURA
EDGE Inspired by the visual elements of the Bauhaus design style of 1919–1933
STYLISH FUDONI
The combination of these two opposites produces a cutting edge typeface that is captivating to the eye
A geometric san serif
Strokes of near-even weight, which are low in contrast
Unusual but beautiful
Max Kisman’s Fudoni is a mixture of the modern letter Futura and Bodoni
An extremely futuristic looking piece of type
kamhuregr This type is identical to Futura except each letter is spaced further apart
FUTURIST
FIXED
WIDTH
25 Unsure if it will work in black and white
FONTS
Unusual layering technique
Taken from the logo of a friends blog (Joe Smith)
BODONI
An overall geometric construction
CUTTING The face has extreme contrast between thick and thin strokes
EIGHT
NINE
ZERO
Designed by Giambattista Bodoni in 1798
Provides a nice contrast alongside the other 2D typefaces.
UNKNOWN
Taken from a book of hand drawn type by Mike Perry
It manages to look 3D using just straight edges
26
THUMBNAILS
THE
BRIEF
STAGE 2 Present the information in a way that reflects the personality of the letterforms The layout should be modernist Should interest and intrigue the audience Visually/aesthetically rich and beautiful REQUIREMENTS
8 examples of fonts Related information Appropriate heading Black and white Name
27
ROUGHS
FEEDBACK
The layout is not balanced. Its is clustered together and feels contained by the space The word ‘art’ is too dominating as an object There is nothing to bring you back to the centre of the image The image has no clear hierarchy
Make better use of white space. Try to branch off from the bulk of the image
of sity n e t in the ang h e s c a y b re e Dec ‘art ‘ d siz d n r a o w acity the p o the ing
Intro chy
a duce
cle
ier ar h
ar-
t nt a e m e e n el a e pag c e u h d t off g Intro ttom of n i l l bo ye fa e the e h op t t s o t e pag the
28 Move layout away from the bottom right corner
ROUGH
VISUALS
FEEDBACK
The layout is confined to the corner - not modernist The elements are too in line and straight The arrows at the bottom of the page are directing the viewer off the page The path for the eye is too direct
n ntatio e i r o ake ve the m o t s Impro nt eleme shape e h g t n i t of s intere e r o am
o not d s w ro he ar t ign e r u e des Ens h t f f you o send
work y h c r a e hier h t for e k path Ma e h t with better e the ey
Fud
Futu
as on ah M
eP err
y, w
e lo
ve
the
illu
stra
tive
,a
bstr
ac
I CUSH TT ED ING GE
t, te
xtu
FEEDBACK
red
qu
ali
ty w
hic
h th
e ty
pe
fac
eg
ive
s to
ou
r la
Successful layout
you
t.
XY
Z
Right angles work well
VW
Interesting fonts
s-s san tric me eo Ag
in
= ra Futu
AB
CD EFG
wa
are
low
HIJK
A really enjoyable project, which took me on a huge learning curve. It was great to receive such positive feedback from every one. This has changed the way I now design and feel much more confident about layouts. Capturing the personality of stylish and cutting edge fell into place as soon as I’d chosen the suitable fonts. They all play off each other and I feel that black and white suits its character.
erif
LM N
EVALUATION
Ch Da amp a wa font. gne c ab nted om and a le cha to m nd is Limo rac ake a us ter a f geo ines isti on me = T t cs of that tric s his f the wo an on sty uld s se t wa le, s r bu have if. Th foun tw e ith all th des d on a d e re ign iffe all er ren y d t fe esir el. -
Tak
Th
ef
on
th
as
en
an
fro
art
m
de
ac
co
op
fee
yo
la
fT
bo
he
ut
Ne
it a
wY ork
nd
fea
er,
tur
es
this
ah
pie
igh
ce
of
co
ntr
typ
ast
og
rap
be
hy
twe
is b
en
oth
the
be
stro
au
kes
.
tifu
la
nd
un
usu
al.
It m vid ana ing ges a n to ice loo co k 3D ntr ast usin alo g ju ng sid st ton e th e. e o It’s the cutt r2 D ty ing e pe dge fac , p es. ro -
OP
QR
Successful path for the eye
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STU
Placed in space well
sig
Mik
en
by
de
pe
lem
n ty
le
raw
ua
dd
vis
an
as
fh
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ko
ast.
oo
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by
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w Ma tth e You
ST
ha
We e
ks
OUTCOME
ka mh ur eg r
29
30
BA
GRAPHIC
COMMUNICATIONS
COMPLETION DATE
30/10/09
Matthew
OBJECT Weeks
PROJECT
AIMS
Investigate the use of drawing as a means of research, creative speculation and realization. Explore the combination of media to communicate specifics.
31
ILLUSTRATOR ILLUSTRATOR BRIEF
Design an information rich A3 composition describing material, form and function of a can.
stab that
WORKSHOP
I was asked to illustrate how a pencil sharpener works using purely Adobe Illustrator. I decided to have some fun with it and created these charming inshown how to cyclopsstructions. right inI was thealso eye! make art brushes and construct formal drawings based on a sketch.
Image based schematic piece that describes the object as fully as possible It can contain a mixture of techniques, but there must be substantial Adobe Illustrator content. Surrender your pencil sharpener to the pencil His cyclops eye is his only weekness Show no mercy to your enemy Attack! Attack!
32
PHOTOGRAPHY NET
CRUMPLE POINTS FUNCTION
CURVE
33
PHOTOGRAPHY FORM
CAPACITY
MATERIAL
STRUCTURE
34
RESEARCH
ILLUSTRATOR
I had never used Adobe Illustrator before I drew these objects. It proved to be the perfect tool to show the intricate lines and indentations on the can. I tried doing cartoon, inaccurate versions as shown by the two ring pulls. However, I decided that a technical drawing would be more suitable for the poster as it provides more information and accuracy.
The cartoon style method of drawing the can does not work as it does not represent the can in its true form
35
ROUGH
EVALUATION
Our idea is to link the can with recycling. To achieve this we will show the method of the can in a style similar to the recycling process. The can will be shown in 5 stages in order of being opened. It is important that we capture the movement of the ring pull as this is the most technical aspect of the can. The can will be illustrated in a way that is effective in showing the form and function of the can. This means they will be detailed, accurate representations of the object. We also want to show the net of the can as it shows the bean can in its most simple and understandable form.
VISUAL
36
METHOD The photo shoot for the images that will be illustrated to show form and function
We needed a method of capturing the beans in the form of the can. We decided that curving a flat image of some beans would not produce a believable image. We then had the idea of freezing the beans in the can, removing them, and photographing them. This proved extremely successful although it was a difficult process.
37
OUTCOMES The lids crumple points are represented here
FEEDBACK
It was suggested that the main image of the cans process should be made smaller in the layout. This would increase the amount of white space and stop the area being too demanding.
The cans contents are shown here
The ring pull process is shown clearly and accurately
The net of the can and the material are shown here
The link to recycling is demonstrated here
The cans form is best shown in this illustration
38
OUTCOMES
EVALUATION
The front can shows the object in its natural form The second shows how the ring pull pierces the cans top The third demonstrates how the ring pull is pulled back with the lid The fourth image shows the crumple points of the lid The final can illustration reveals how the contents are poured out I had fun with this project and enjoyed producing graphics for an item that usually doesn’t get 2 seconds thought. I now feel confident with using Adobe Illustrator and can trace over photo’s with accuracy. The project revealed that you can make interesting, information rich graphics out of anything.
39
BA
GRAPHIC
COMMUNICATIONS
COMPLETION DATE
06/11/09
Matthew
BIG FIGURE Weeks
PROJECT
AIMS
Further understanding of schematic language Develop design skills
40 PSYCHEDELIC
MIND
MAP LOVE AND PEACE
COLOURS
BRIEF
Construct a large scale full figure portrait of character that is: Environmentally conscious Committed Good natured Sensitive to the needs of others REQUIREMENTS
Constructed of 27 A4 sheets Against a backdrop Treat areas in different graphic ways
MARIJUANA
HIPPIES
ENVIRONMENTALLY CONSCIOUS, COMMITTED, GOOD NATURED, SENSITIVE TO THE NEEDS OF OTHERS FRUIT
TREES
NATURE
WATER
LIVELY
CLEAN ENERGY
WIND TURBINES
THE SUN
MUSIC
ENERGY
EARTH
41
RESEARCH
BARBED WIRE
THREATENING
TRESPASSING
We have looked at the different effects an image can have on you by having certain elements or tonal qualities. This is useful for this project as I need to give the impression that my character is a good person. These three images are meant to be related to bad characters or areas.
DANGER
HOSTILITY
IMPRISONED GHOST
KUBRICK’S WAR ROOM
CONFINED
DOMINATING
SPECTRE
WAR
REGRETFUL
INVASION
LOST
FORCE
42
RESEARCH
FRUIT
HEALTHY
NUTRITIOUS
These three images are meant to be related to good characters or areas. I looked at using the image of a dove in my poster and to include the sky to give the impression of peace and freedom.
PLUMP
FRESH
DOVE
PEACEFUL
CLOUDS
SAFE
CLEAN
PURE
FREE
BRIGHT
BEAUTY
WELCOMING
43
RESEARCH Bob Dylan
William Shakespeare
Hoodies
NOMA BAR - VISUAL METAPHORS I love how Noma uses objects related to the characters he is working and uses it to construct their faces. He manages to facial features out of anything, from punctuation marks to electric guitars. His work was a useful influence to me on this project as I planned to use visual metaphors for my hippy character
44
RESEARCH Repetitive fabric patterns Flowing
Vibrant colour Flower power Energy
Contrast Swirls and curves Intricate pattern
Rainbow colours Simplistic Natural
45
DEVELOPMENT These images show the progression from photo to Adobe Illustrator. I decided on an outline for the character as the stencil is far too threatening. We split the image up into three parts so that we would produce a single poster with three different graphic styles.
46
BA
GRAPHIC
COMMUNICATIONS
COMPLETION DATE
26/11/09
Matthew
COMPLEX CHARACTER Weeks
PROJECT
AIMS
Further understanding of schematic language Develop design skills
47 COSMOLOGY
RESEARCH BLACK HOLES
THEORETICAL PHYSICIST
BRIEF
Design an A2 format poster profiling Steven Hawking; theoretical physicist The poster must be predominantly image based and must be constructed using an element of Adobe Photoshop
CONSTELLATIONS
STEVEN
PARALYSED
HAWKING
REQUIREMENTS
A2 Information rich Visual likeness Include a map Hierarchy
WHEELCHAIR
IQ OF 160
SYNTHESIZER
VOCALS FOR PINK FLOYD
FELL DOWN STAIRS
POPULAR AUTHOR
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RESEARCH Steven Hawking is a British theoretical physicist who is known for his contributions to the fields of cosmology and quantum gravity; especially in the context of black holes
HIERARCHY
A clear hierarchy is needed for this project to be a success I have listed a group of facts that I found about Steven, in order of relevance
He has a neuro muscular dystrophy that is related to amyotrophic lateral sclerosis. This condition has progressed over the years and has left him almost completely paralysed The DEC talk synthesiser he uses, which has an American accent At Cambridge, he lost his balance and fell down a flight of stairs, hitting his head. Worried he would lose his genius, he took a mensa test His actual synthesiser voice was used on Pink Floyds 1994 album The Division Bell
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He has an IQ of 160
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He had a bestselling book that stayed on the Sunday times best sellers list for a record breaking 237 weeks (title A Brief History of Time)
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RESEARCH
Computer - Relies on this to communicate VISUAL
METAPHORS
Steven is almost completely paralysed so his brain is his valuable asset. He can communicate, but only through computers and speakers. I wanted to capture these connections in the simplest form possible and came up with this. Stevens face will be shown on the computer so that the collage is recognisable as the man himself. It is an unusual composition but I think it will work for this project.
Megaphone - His voice comes through speakers
Brain - His genius
Wheelchair - Shows his neuro muscular dystrophy
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ROUGH
EXPLANATION
I wanted the image to work around the centre piece of Steven in his chair and to create the illusion that all the objects are flowing out of his brain. I thought about using mathematical grid paper as a background but it wasn’t relevant enough and doesn’t really tell us about him. I wanted something to come out of the megaphone that was suitable; possibly his work on black holes. I used the Pink Floyd ‘Dark Side of the Moon’ electromagnetic spectrum to show the link between Steven and Floyd. This is because it is a scientific experiment as well as a link to the band. I decided to draw out some constellations on Adobe Illustrator and try to make them interesting by varying line thickness. I was considering creating the stairs out of blocks of text that are extracted from his book.
VISUAL
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LAYOUT
EXPLANATION
These are a couple of examples of me playing around with the general layout of my poster. I had been trying make sure the hierarchy was correct and the path of the eye flows smoothly. I wanted each subject to be represented in the order that I see fit. It is important that the brain is the most visually interesting object but it mustn’t be to commanding. The scale and tone of the item had a big impact on the poster succeeding as a piece of graphics.
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METHOD
I found this image of a black hole on the internet and thought it would be perfect for my poster. I put it into Adobe Illustrator and drew over the shape. No-one has ever seen a black hole so I thought if anyone was going to recognise a black hole, it would be from this.
53 STEP 1 I found this iconic image of Pink Floyd on the internet
METHOD
I tried putting Steven in a computer and then placing him in the wheel chair. I think that his face works well inside the computer but having it sitting in the chair is not effective. I decided on having the computer on top of a brain and the wheel chair supporting the whole structure.
STEP 2 I placed the file on Adobe Illustrator and traced over it. I then stretched out and curved the lines
STEP 3 I added colour that matched that of the spectrum
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OUTCOMES
FEEDBACK
POSITIVE Well designed Good use of white space The brain works well Constellations are interesting Good contrasting NEGATIVE Not to be more information rich Unsure about Pink Floyd link The egg is unrecognisable Information not clear enough CHANGES
I will introduce quotes coming out from his brain and the name of his condition that left him paralysed. I will also link the Pink Floyd logo to a microphone and have the lyrics emerging from the spectrum. The egg will be placed on the word IQ to link it with his intelligence. Finally, I will put a guide on the steps to make them more recognisable.
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OUTCOMES
EVALUATION
I have found this project the most difficult so far as it clashes with the way I design. I found that trying to put so much information in was overwhelming, but this was a challenge I faced as a designer. I think I have succeeded in portraying Steven Hawking in an information rich poster because of the positive feedback that I received. I also think I have succeeded because I have learnt a lot about laying out a large amount of information without it appearing cluttered or ugly. I have enjoyed researching about this brilliant man and its been fun creating graphics to suit his life and personality. I like working with well known figures are there are facts that most people know and facts that will take people by surprise.