12 Brief Title
The Brief
Solution
Evaluation
SUM Exhibition
Visual identity for LCA Fine Art 2014 degree show.
The exhibition identity is based around the word ‘SUM’ broken up into separate parts, this is then used as an animated sequence for signage and online functions. The book is kept simple, with focus being placed on the work in the book rather than out layout design.
When writing this evaluation the brief isn’t 100% completed. From the 27th May onwards me, Joel and Ross will be producing poster designs, a website and exhibition signage for the End of Year Show. I will talk about the exhibition book.
Brief Type Live
Collaborators Joel Burden Ross Francis
Background Fine Art came to us with a name for the show - SUM. An idea showing that everybody involved in the exhibition is equally important.
As a project it has been very successful, both we and the client are extremely happy with the outcome. The design enforces the concept at every point, we kept the special finished limited, choosing one which enforces the concept rather than one to serve our own desires. I have learnt a lot during this brief, I realised that I have a pretty thorough understanding of the commercial print process, and an ability to visualise a book a complete design rather than as individual spreads. The outcome is pointing towards an exhibition displaying a lot of interesting work, with a strong visual identity. I would like to extend this opportunity to invite you to the Fine Art exhibition on the 13th June, it is certain to be the most exciting show in the college on that day, with the best yearbook to support it ;)
Considerations What is needed in a visual identity for an art exhibition. How do you display work as varied as what appears in a Fine Art exhibition. Budget restraints mean the exhibition book design has to be considered and not dependant on special inks or finishes.
David M Gaskell
OUGD603
Brief 12
1/12
20
14 Name +44 (0) 0000 000 000 www.website.com hello@website.com Sentence of two about their practice.
Sentence of two about their practice.
Name
+44 (0) 0000 000 000 www.website.com hello@website.com
+44 (0) 0000 000 000 www.website.com hello@website.com
08
Sentence of two about their practice.
Name
Name
+44 (0) 0000 000 000 www.website.com hello@website.com
+44 (0) 0000 000 000 www.website.com hello@website.com
Sentence of two about their practice.
David M Gaskell
02
+44 (0) 0000 000 000 www.website.com hello@website.com
Name
Sentence of two about their practice.
Initial pitch
Name
12
Sentence of two about their practice.
Graphic Design yearbook
What I did
Why it works
I pitched for the Graphic Design yearbook on my own, not as part of a collabo
The idea was based around a 20 x 14 grid. The left page using a 20 part grid, the right using a 14 part grid. The grid allows for a wide variety of layouts, and each student would be able to layout their own spread - making the book a communal book, rather than a book designed for a year.
The book is objective, the grid allows for any type of work to be displayed at it’s best. Each page is benefitted by the concept and the book isn’t reduced to a title with no actual idea.
OUGD603
Brief 12
04
10
46
2/12
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BA (Hons) Graphic Design 01 02 03 04 05 06 07 08 09 10 11
Initial pitch
Sophia Akrofi Emily Ball Greg Ball Nathan Bolton Kathryn Brooks Stephanie Buck Joel Burden Lisa Burns Lisa Collier Andrea Cooper Josh Douglas
12 13 14 15 16 17 18 19 20 21 22
Natalie Dyson Nigel Dzavakwa Andrew Foster Jack Fower Ross Francis David Gaskell Beth Hayden Imogen Hoefkins Samuel Hoh Simon Isles Emily James
23 24 25 26 27 28 29 30 31 32 33
Emma Johnson Sam Lane Stephen Maher Greta Medelyte Suzanne Moore Jenna Morse Abbas Mushtaq Sebastien Needler Martin O’dea Tanida Panyamang Stephanie Pickard
34 35 36 37 38 39 40 41 42 43
Nicola Proctor Luke Rossiter Michael Scott Chris Shuttleworth Thomas Squire Elizabeth Tyrer Eve Warren Hannah Watt Michael Williams Katie Jo Winter
Finishes
Supporting materials
Why it works
Unaware of the budget I was using three special finishes during the pitch stage.
The grid idea is transferable to become wayfinding for the exhibition. Assigning each student their own are of the show, this can also be used to plan out locations for the exhibition. Making the end of year show easier to organise.
The wayfinding and poster design is a direct link to the concept behind the book, it is objective, it is functional, in many ways it shows way graphic design is.
Fore-edge printing This is used to allow the book to appear as a solid block when stacked up in a pile. Emboss Used to give a suble cover design. Spot varnish Used for page numbers, to allow for large size numbers which aren’t over--bearing.
David M Gaskell
OUGD603
Brief 12
3/12
Cogito ergo sum, I think therefore I am. A sum’s existence depends upon more than one, number /artwork / maker. This exhibition is a sum of many parts, encompassing a vibrant community of new makers and thinkers, they make therefore they are.
Meeting Fine Art
The Idea
Requirements
How we progressed
I started a collaboration with Joel Burden and Ross Francis at this stage of the poject.
The Fine Art team requested no bright colours, and for the book to be nothing like the one they were burdened with for the 2013 graduating year. This year the focus needed to be on the Fine Art, not the layout design.
After meeting with Fine Art we were confident with the idea they presented. The first stage of the project was looking at the students’ websites and seeing the wide variety of work that is going to be displayed.
In our first meeting with Fine Art we were presented with the idea of SUM - showing the exhibition as a combination of smaller parts. This was nice to hear, as it linked back nicely to the idea I presented for the Graphic Design Yearbook.
David M Gaskell
OUGD603
We organised for two third year photography students to gather images for the yearbook.
Brief 12
4/12
Research
What I did
Why I did it
How the research informed me
We looked at ways SUM could be broken up, to make for a cover with an interesting visual, not a lazy cover which features the title typeset and the year of the exhibition.
The motion type was researched to use as a cover design and exhibition signage. The book formats were researched as we wanted to understand how a special feel can be given to a book without using a special finish. Due to our limited budget this is something we will depend on.
The Steve McCurry book (top right) showed me that the way content is delivered can be interesting. The book uses an index system on the back that allows for each image to be shown without needing supporting text.
We looked into book designs to see for interesting ways the work can be displayed and print-finishes that would enforce the concept of SUM.
David M Gaskell
OUGD603
Brief 12
5/12
Development
David M Gaskell
Typeface selection
What we wanted
Progression
Next stage of the process was to decide on typefaces.
We didn’t want to use a typeface that is overly common, this eliminated Helvetica naturally. We decided against using a classical serif font as we felt it didn’t fit the concept or atmosphere of the exhibition and the work in it.
It was a close call between Balto and Flama, we decided on Flama as it more rounded and has a taller x-height, making the typeface more legible at smaller point sizes.
OUGD603
Brief 12
6/12
01
02
05
06
Cogito ergo sum, I think therefore I am. A sum’s existence depends upon more than one, number / artwork / maker. This exhibition is a sum of many parts, encompassing a vibrant community of new makers and thinkers, they make therefore they are.
03
Development
David M Gaskell
04
Charlotte Aston
Michael Barry
George Buckfield
David Clearly
www.caston3.wix.com/charlotteastonart
www.michaelbarry.eu
www.cargocollective.com/georgebuckfield
www.davidcleary.co.uk
Artists such as Rothko and Turner have inspired and driven me to create landscapes which express something more than beauty, and I have been questioning the idea of the sublime within landscape painting. I have experimented with photography and paint in my deconstruction and enhancement of landscapes, to create a different aesthetic experience for audiences.
My practice aims to make the viewer contemplate their relationship with consumption through the use of identifiable commodities and the experimentation of display conventions that have been established by the practice of visual merchandising.
The artist vies for the merging of experience and technological processes. Using an eclectic range of processes and tools to present ideas of time manipulation. The artist has come to allow for the partaking of the viewer, where the process is set up by the artist, but the content and direction of the work is completely up to the viewer. The parallel between film, sound and design have all become an important feature of the artist’s practice, allowing for an eclectic body of work.
Initially working with photographic images of male nudes I then arrange the forms into compositions that have sexually perverse connotations from which are translate into painted abstractions. Through representing identical subjects through different modes of superficial representation I address how the images materiality has leverage over the audience’s abject response.
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Samuel Brickman
Lydia Brockless
Laura Day
Georgia Deacon
www.brettwalsh.wix.com/bwsb
www.lydiabrocklessartist.wordpress.com
www.lauradayfineart.wordpress.com
www.georgiadeacon91.wordpress.com
As for Deleuze all ideas should be treated like potentials, engaged in a mode of expression and significantly inseparable from that mode. A collaboration of experimental film makers/fine artists. The work uses film to explore a variety of philosophical and psychoanalytical concepts.
The body, illness and death, fertility, femininity and sexuality. Relationships between materials, history of materials, interplay between hard and soft, round and flat, textural conversations and tactile surfaces. Time as non-linear, endless cycles of making and meaning.
My practice as an Artist refers to women and the difficulties they face within todays society. By focusing on the human form I am challenging myself as an artist to look at what is acceptable and what is not. My work is highly conceptual and I use personal experiences to not only define my work but to give it life and substance.
Rescuing the dying skill of craft is an important aspect of Georgia’s work. She questions whether words, ideas and philosophising are partly responsible for the erosion of craft. She is inspired by women’s progressive ability in the face of challenges, reflecting in crafted objects which engage with notions of materiality.
05
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43
44
Grid
What we needed
Progression
The grid was the next step the climb in the development process. There are three variations of work that will be shown in the book; portrait, landscape and media. Displaying all three types of work in a simple and interesting way is a challenge.
We needed a grid that was adapatable and true to the concept. For this reason I developed a grid split into three elements. Portrait and landscape are turned into a cross-section that combine to make a plus sign - enforcing SUM being a combination of elements.
The grid was rejected by the rest of the group as they felt it was ‘grids for grids sake’. However. they did like some elements of the grid, the full page image box (top-right) was taken forward as the main grid used throughout the book.
OUGD603
Brief 12
7/12
SUM
Development
Logotype
Variations
Progression
We wanted to develop a type treatment for the cover and exhibition signage.
We tried a variety of treatments, from making a block-style typeface. An breaking up a typeset animation into 44 parts (the number of students int he exhibition).
The modular typeface looked awful and didn’t fit the idea behind the exhibition. The SUM type divided into 44 elements looked to busy, too messay and not very transferable between screen and print. The direction we decided on was SUM, split into 9 elements, this was as transferable to being an animation.
David M Gaskell
OUGD603
Brief 12
8/12
Outcome
David M Gaskell
Logotype
Animation
How this will be used
The final logotype is divided into 9 elements, 2 in the S, 2 in the U and 4 in the M.
The animation separates the 9 elements across different planes. The camera travels through the design creating abstract visuals before coming back to show the word SUM.
This will be used as signage on the night of the exhibition and on the exhibition website.
OUGD603
Brief 12
9/12
Outcome
David M Gaskell
Cover design
Finishes
Why it works
The cover design shuffles the 9 elements of the logotype, placing them in a 3 x 3 grid.
Foil-blocked Allowing for a solid white block when the exhibition books are stacked. The design can be seen when the book is interacted with.
The foli-blocking allows the book to maintain it’s module concept, with each book combining to create a larger solid block of books.
OUGD603
Brief 12
10/12
Headers = Flama Bold - 13/15pt AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz Sub-headers = Flama Book Italic - 8/11pt AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz Body copy = Flama Book - 8/11pt AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz
Alex Gilmour
Outcome
David M Gaskell
Anna Prenelle
My practice dances on the line between the physical and the digital, through work combining drawing and new media, painting and printmaking I invoke personal experiences and toy with spatialism. Whilst using humour and irony, I strive to find a method of authentic, articulate communication.
annaprenelle.co.uk
alexandergilmour.com
My practice emerges from ideas surrounding environmentalism, sustainability and human detachment from nature. Organic materials are present in my work to create living, changing sculptures. I explore process and time by using ephemeral subject matter, as well as challenging current ecological issues.
03.
01.
Typography
Grid
Why it works
Flama is used, the proportions we decided on were the ones we were taught in the type sessions during second year.
Full page images, for landscape images the type is turned on it’s side, making it clear which way the work should be viewed.
Simple, clear and engaging design.
OUGD603
Brief 12
11/12
Next Steps
Website
Poster promotion
Exhibition signage
These pieces are being developed from May 27th onwards, as such no work has been done.
Website uses the contents page from the exhibition book.
Posters that will promote the Free Range show in London. A6 Flyers and A0 posters are needed for this.
Name plaques and signage systems.
David M Gaskell
OUGD603
Brief 12
12/12