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UNIT 3.0/2013 THE MAJOR PROJECT VISUAL SUMMARY LCC MAGD GUANJIAO LI
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Exploring the graphic language of the Chinese traditional garment, the cheongsam. How can a contemporary aesthetic provide a feasible way of developing the popularity of the cheongsam culture to Chinese 18 - 30 year olds?
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CONTENTS
VISUAL RESEARCH
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CONTEMPORARY GRAPHIC LANGUAGE of the CHEONGSAM
Series 1: Cheongsam
Visual Summary
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Research Analysis
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EXPERIMENT
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Research Issue
Experimental Research
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Experimental Process
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Principles
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Cheongsam Outline
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Cheongsam Flower Buttons
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Series 2: Geometric
Series 3: Flora
Series 4: Animal
The PROCESS of OUTCOME
Mesh - shaped pattern
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Cloud & Waves
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Water Lily
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Peony
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Red - crowned Crane
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Butterfly
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Digital printing on silk
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Postcards made by silk
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Scarfs & Handkerchiefs
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Embroidery Bookmarks
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Wrapping Paper
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VISUAL RESEARCH
RESEARCH ISSUE
People in China, especially the young generation, rarely care about the Chinese traditional garment. Nowadays less and less Chinese women are wearing the cheongsam in their daily life, as the cheongsam is not fit for their daily activities and work, and wearing the cheongsam needs a very high demand on women’s bodies as well. From this, we can see Chinese traditional garment culture, the cheongsam culture(fig 1), is fading out, especially for the Chinese young generation.
The development of the Chinese traditional garment cheongsam is not fit for the demand of the contemporary society. The Contemporary Chinese cheongsam, in terms of the styles and patterns, without any positive promotion which is fit for the development of the contemporary aesthetics(fig 2). Meanwhile, The target audience is mainly between 40 to 60 year olds. The Chinese 18 - 30 year olds rarely step into the Chinese cheongsam and silk stores (fig 3).
fig 1, 2
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The traditional Chinese cheongsam has its own style & culture, and it was very popular in female daily life and banquets in the 90s (fig 4,5). In addition, it has series of public posters, which could be the visual language, to reflect and promote the culture of the traditional Chinese cheongsam(fig 6 to 13). However, nowadays, there hasn’t any forms of the visual language to visually reflect and promote the contemporary Chinese cheongsam style.
fig 3,4,5
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fig 6 to 13, Pictorial Posters in Traditional Chinese Cheongsam style period. Visual Research
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fig 14,15,16 Minimalism Style in Fashion.
There are not many mature Chinese fashion brands which could well fuse Chinese traditional garments, the cheongsam and contemporary aesthetics and function. What we have is, 1. Totally following the international contemporary minimalism style, which normally using nude and natural colours, meanwhile with a little or without any decorations(fig 14,15,16). 14
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fig 17 to 20 Elegant Style in Fashion.
2. International elegant fashion style, which is nearly fit for all the occasion, or following some international fashion brand style. Mainly using black, white, golden and nude colours, adding small proportional high saturation colours, meanwhile with some details’ design. (fig 17 to 20)
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fig 21 to 23 Pure National Style.
3. Pure national style dress, which directlyusing national elements and patterns and decorated with high saturation colours. (fig 21,22,23) From this, in terms of contemporary aesthetics, especially the Chinese young generation do need a kind of brand which position between the international fashion trend and totally national garment. Therefore, combining with contemporary aesthetics to 16
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explore the graphic language of Chinese cheongsam, can not only develop the popularity of the cheongsam to Chinese 18 - 30 year olds, but also satisfy the demand of the Chinese young generation, helping the development of this kind of brand.
RESEARCH ANALYSIS
About the Chinese Cheongsam
fig 24,25 The style of the Chinese Cheongsam in 1920s.
Visual Research
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The following figure is showing the development of the Chinese cheongsam in the modern history of China (fig 26 to 32).
fig 26,top left. Embroidered satin cheongsam with broad decorative borders, in the end of Qing Dynasty. fig 27, top right. Embroidered cheongsam made of flowered stain. fig 28, bottom right. Cheongsam with coloured embroidery and broad decorative borders --- fashion of Manchu women in Qing Dynasty.
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fig 29, top left. Long - sleeved cheongsam with side opening and coloured embroidery --fashion in early 1920’s.
fig 31, bottom left Long - sleeved waist cheongsam with side opening and coloured embroidery --fashion in late 1920’s.
fig 30, top right. High - collared cheongsam with medium - length shoes embroidered with silver cloud and dragon patterns --fashion of the mid - 1920’s. Qing Dynasty.
fig 32, bottom right Close - fitting sleeveless cheongsam with slit in front --fashion of the early 1930’s. flowered stain.
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fig 33. sleeveless tapestry satin cheongsam with V - shaped opening --fashion in late 1930’s.
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fig 34. short - sleeved, a kind of geometric mesh cheongsam.
High collar Flower buttons for the colla and asymmetrical opening
Asymmetrical opening
Side opening
Depending on the development of the cheongsam, the main characteristics of the Chinese cheongsam can be summarized (fig 35). Most of the cheongsam use bright colours, and red is the most popular colour; The pattern of the Chinese cheongsam mainly contains three types, florals (peony, waterlily, chrysanthemum wintersweet, orchid), Chinese auspicious animals (Crane, butterfly, Chinese dragon and Phoenix) and geometric patterns
Traditional Chinese pattern.
Material: mainly using silk, stain, damask & velvet
(mesh, stripes); From the middle 1920’s, new tailoring methods developed, and most of the cheongsam shows the body shape of women; In addition, flower buttons, high collar, and asymmetric opening are also the characteristics of the cheongsam. All these characteristics have potential to develop the graphic language of the Chinese cheongsam.
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GRAPHIC for FASHION
Antoine + Manuel are good at applying layered textures, geometric forms and detailed illustrative gestures to form their refined yet chaotic style (fig 34,35). Through their distinctive colour and form, their work could be easily identified.
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fig 34, 35. Autumn/ Winter 2005 and Spring/Summer 2007 invitations of Christian Lacroix, designed by Antoine + Manuel.
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fig 36, 37. Wim Neels Showroom invitations for Belgian fashion designer Wim Neels (Summer 1993 & Winter 1993-4) Designed by: Paul Boudens Category: Invitation/Poster Size: 63 x 89 cm., folded to A4 Year: 1992 & 1993 Printing: left: recto silk-screen
Printing: left: recto silk-screen black and red on waxed paper; Right: recto silk-screen black on raw cotton, stitched label
Paul Boudens, graduated in Graphic Design & Illustration, Sint-Lucas Pavillion, Antwerp. He is a freelance designer, and did many graphic design for fashion and magazine. Clients such as Yohji Yamamoto, Haider Ackermann, and Dries Van Noten create clothes culled from dreams; and for their fantasies to sprout into other countless forms (invitations, posters, productions), Paul had to enter the picture or, rather, be the man behind the image. Though 24
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Paul prefers working in the sidelines, his oeuvre contains a human side that results in a breathing brutality of textures distilled in a restraint of lines and shapes. The task might be physically taxing, but Paul is always excited for the next project. He says, “I’m easily bored. I want to create, create, create.” (fig 36 to 44)
fig 38. Antwerp Fashion Academy. Poster for Show 1991, the annual show of the Antwerp Fashion Academy. Designed by: Paul Boudens Category: Poster Size: 70 x 100 cm. Year: 1991 Printing: duotone on matt Maco paper
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fig 39 to 44. Yohji Yamamoto Seasonal and promotional invitations for Japanese fashion designer Yohji Yamamoto (Summer 2005 & Winter 2005-06) Designed by: Paul Boudens Category: Invitation/Post card Size: A5 Year: 2005 Printing: up: duotone + embossed logo & perforation on curious metallics paper + smoky plastic envelope; down: Pantone black & silver embossed logo on
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greyboard, full colour on wafer thin paper, stitched together by hand
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FASHION with TRADITIONAL ELEMENTS
It is generally believed that John Galliano is one of the few fashion designer who is treating fashion as art, followed by the commercial. he always like to find inspirations from different traditional ethnic cultures, fusing with his own understanding of art and fashion, perfectly combining the traditional elements with the contemporary aesthetics (figure 45 to 48).
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fig 45 to 48. Designed by John Galliano, who is an extreme romanticism master. His unconventional works are independent from commercial interests, and be presented by the irregular multi-elements, extreme visualization and other non-mainstream features.
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Issey Miyake is a famous Japanese fashion designer, who is known for his creative fashion design, exhibitions and fragrances. The experience of studying graphic design becomes one important element to his success. As he is good at using deconstruction and reconstruction to form the textile and structure of the cloth (fig 49,50,51). Meanwhile his products and exhibitions all reflect the Japanese’s mild nature and lifestyle philosophy. 30
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fig 49,50,51.Issey Miyake, Paris Runway Women, Autumn/ Winter 2013
fig 52,53,54. Yohji Yamamoto Paris Fashion Week Spring/ Summer 2012
Yamamoto like to find inspirations from the beauty of traditional Japanese clothing, through the combination of colour and material to convey fashion ideas (fig 52,53,54). Yamamoto is starting from two - dimensional linear, forming a kind of asymmetric appearance. This chic idea is the essence in Japan’s traditional costume culture, because the irregular form is natural, not affected.
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FASHION with GRAPHIC ELEMENTS
Another famous fashion designer Walter Van Beirendonck, who always likes to cooperate with graphic designers, adding graphic elements into his fashion design products, both for his own labels and the street wear brand, W&LT(fig 55, 56, 57). The graphic designer Paul Boudens has worked with Van Beirendonck for three decades.
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fig 58,59,60. Antoni & Alison Spring 2013 Reay - to - Wear Collection.
An other fashion brand Antoni & Alison (fig 58,59,60), although both Antoni and Alison are not trained as graphic designers, the way of thinking for this fashion brand is that the presentation and packaging are as important as the product itself. They also cooperated with a design agency, Graphic Thought Facility to finish their logo T-shirts and free broadsheet mail - order catalogues.
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fig 61,62,63. Fashion brand Marimekko.
There still have many contemporary fashion brands which have a strong connection with the graphic design. Such as Marimekko (figure 61,62,63), Yang Du(figure 64), Huishan Zhang (figure 65), Chictopia (figure 66,67). These kind of fashion brand heavily relied on the graphic language, from the garment pattern to logo, typography, and packaging.
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fig, 64 bottom left. Fashion brand Huishan Zhang.
fig, 65 bottom left. Fashion brand Huishan Zhang.
fig, 66,67 top right. Fahsion brand Chictopia.
Visual Research
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EXPERIMENT
EXPERIMENTAL RESEARCH
The basic style of the graphic language is the result of the history and culture of the Chinese cheongsam, fusing with the culture of Chinese and Western, representing the inspirit of courage and innovation. It is a kind of style which I temporarily call it ‘contrasting style’. According to the history and culture of the Chinese cheongsam, I have found out two pairs of the contrasts, which are the Chinese culture contrast to the Western culture and Contemporary contrast to traditional. Moreover, most of the cheongsam boldly using high saturated colours with large area graphic patterns to be the decoration. Therefore, the techniques of expression of graphic language could use contrastive and high saturated colours. Red and green could be the major colours. The graphic language could use the style of the maximalism contrast to the style of the minimalism. Utilizing this method, the characteristics of the history and culture of the Chinese cheongsam could be expressed (fig 68). The figure 68 in page 36,37, shows the feeling of this kind of style. I collected these images which are similar to mine requirements, but it is not the exactly style of the graphic language for the Chinese cheongsam. Meanwhile, there are only few of this kind of products exist in China. I picked out these images from some design websites, helping me to record and show the general idea of the contemporary graphic language of the Chinese cheongsam. It can not represent the final style of the contemporary graphic language of the Chinese cheongsam.
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fig, 68
STYLE FEELING: CONTRASTING Culture: --- western culture (sexual, open,daring) constract to the eastern culture (undemonstrative, delicate, nobleness). --- traditional constract to contemporary. Graphic: --- red constract to green. --- the minimalism style constract to the maximalism style.
Experiment
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The basic elements of the contemporary graphic language of the cheongsam were picked out from the Chinese traditional cheongsam, traditional fabric patterns and appliance by using the simple outlines.
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fig 69,70,71. Yin dynasty ruins. The Twill diamond geometric pattern. The taotie is the most common decoration in the Shang Dynasty to the mid-Western Zhou bronzes and other artifacts
fig 72. left. Song Dynasty Mesh-shaped Zhuang Brocade.
fig 73, top right. Tang Dynasty “LingYanggong pattern� fig 74, bottom right. Han Dynasty. The cloud patterns on the garment.
Experiment
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fig 75. Song Dynasty. Drug spot cloth. (Blue printing cloth)
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fig 76. Yuan Dynasty. Chess game words of broken branches floral woven perianth surface
fig 77. Ming Dynasty. Ming yellow robe patterns. Changes on the top of footing layout.
fig 78. Qing Dynasty. Phoenix crane Aviary Figure.
Experiment
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EXPERIMENTAL PROCESS
Before making sure the whole process of creating the contemporary graphic language of the Chinese cheongsam, there were some failed experiments had been made. The figure 79, 80, is the first piece I was trying to explore the graphic language. Utilized water colours to create the original prototype of the graphic language(fig 79), then the colours been adjusted on the photoshop (fig 80). However, the colours and shapes were not been controlled ideally. The contract of each colour block can not be same, and there always have some parts which are too dark or too light. Moreover, the shape of the pattern seemed too traditional, as the contemporary graphic language, lacking some changes. Therefore, I gave up these two pieces.
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fig, 79. Colour blocks drawing by Watercolour.
fig, 80. Mesh patterns. Designed by Watercolour and photoshop.
Experiment
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After using the graphic language on the model (fig 81 to 84), I was realized that I am not doing fashion design, I do not need to fit it on any female model or garment. Keep creating the contemporary graphic language, utilizing contemporary graphic aesthetics to visually remind Chinese 18 - 30 year olds the existence of the Chinese cheongsam, is what I should do for the project. 44
Visual Summary
fig, 80 to 84. Trying the graphic language on models
Experiment
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I was trying to print the contemporary graphic language on a kind of stain paper, to see if the effect will be similar to the real stain (fig 85,86,87). However, only slight texture been added, and the colour of the image became darker. Therefore, I gave up this method, and was planning to print the contemporary graphic language of the Chinese Cheongsam on the real silk.
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fig, 80 to 84. Trying the graphic language on stain paper.
Experiment
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fig, 85. Step 1. Printing the pattern on a piece of A4 paper.
The figure (85 to 89) is the experiment for printing on the silk. Although through this way, the image could be printed on the silk, the colour is far from my original design pieces, and some details of the image can not be printed (fig 54,55). Hence, for the final out come, I gave up this method.
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fig, 86. Step 2. Sticking the silk on the printed side of the A4 paper.
fig, 87. Step 3. Putting the paper in the printer. Picking out the result.
Experiment
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fig, 88.
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fig, 89.
Experiment
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CONTEMPORARY GRAPHIC LANGUAGE of the CHEONGSAM
PRINCIPLES
fig, 89.
For exploring the contemporary graphic language of the Chinese cheongsam, a principle has been defined to make sure that there has an consistent style of the contemporary graphic language of the Chinese cheongsam. The design principles of the graphic language of the Chinese cheongsam is, -- Mainly Using block colours, if it is necessary, with a few lines. 52
Visual Summary
-- Utilizing High saturation colours. -- Mainly using contract colours. Utilizing red and green to be the main colour of the graphic language of the Chinese cheongsam. -- Utilizing the way of freedom tiled combinations to arrange each element in a specific area. It is different from traditional patterns, which is mainly using two sides continue image, four consecutive image and Center of symmetry image.
fig, 90.
The figure 90 and 91 are the two pieces of my work. Using them to basically show the graphic language of the Chinese cheongsam, which is designed following with this principles.
Graphic Language
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CONTEMPORARY GRAPHIC LANGUAGE of the CHEONGSAM
SERIES 1: CHEONGSAM A. Cheongsam Outline
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Graphic Language
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fig, 92. The prototype of the series of the cheongsam outline.
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fig, 93.
The figure 92 to 95 are showing the process of exploring the contemporary graphic language of the series of the Cheongsam Outline.
fig, 94.
Graphic Language
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fig, 95.
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Process
Graphic Language
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fig, 96
Final pieces of graphic language of the Chinese cheongsam of series of the Cheongsam Outline. (fig, 96 to 99)
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fig, 97
Graphic Language
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fig, 98
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fig, 99
Graphic Language
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fig, 98
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Graphic Language
fig, 99
Graphic Language
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SERIES 1: CHEONGSAM B. Cheongsam’s Flower Buttons
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Graphic Language
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fig, 100 to 103. The prototype of the series of the cheongsam flower buttons.
The figure 100 to 104 are showing the process of exploring the contemporary graphic language of the series of the Cheongsam Flower Buttons.
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fig, 104.
Graphic Language
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fig, 105.
Final pieces of graphic language of the Chinese cheongsam of series of the Cheongsam Flower Buttons. (fig, 105 to 122)
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fig, 106.
Graphic Language
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fig, 107.
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fig, 108.
Graphic Language
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fig, 109.
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fig, 110, 111,112.
Graphic Language
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fig, 113 to 117
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fig, 118 to 122
Graphic Language
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SERIES 2: GEOMETRIC A. Mesh - shaped Pattern
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Graphic Language
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fig, 118 to 122.
The figure 118 to 123 are showing the process of exploring the contemporary graphic language of the series of the Mesh - shaped Pattern.
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fig, 123. Using Watercolour to create the patterns.
Graphic Language
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fig, 124.
Final pieces of graphic language of the Chinese cheongsam of series of the Mesh - shaped Pattern. (fig, 124 to 129)
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fig, 125.
Graphic Language
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fig, 126.
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fig, 127.
Graphic Language
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fig, 128.
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fig, 129.
Graphic Language
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SERIES 2: GEOMETRIC B. Cloud & Waves
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Graphic Language
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fig, 130.
The figure 130 to 132 are showing the process of exploring the contemporary graphic language of the series of the Clouds & Waves.
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fig, 131.
fig, 132.
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fig, 133.
Final pieces of graphic language of the Chinese cheongsam of series of the Cheongsam Flower Buttons. (fig, 133 to 143)
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fig, 134.
Graphic Language
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fig, 135.
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fig, 136.
Graphic Language
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fig, 137
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fig, 138
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fig, 139.
Graphic Language
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fig, 140 to 142.
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fig, 143.
Graphic Language
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SERIES 3: FLORA A. Water Lily
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Graphic Language
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fig, 144. 145
The figure 144 to 146 are showing the process of exploring the contemporary graphic language of the series of the Waterlily.
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fig, 146.
Graphic Language
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fig, 147.
Final pieces of graphic language of the Chinese cheongsam of series of the Waterlily. (fig, 147 to 152)
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fig, 148
Graphic Language
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fig, 149.
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fig, 150.
Graphic Language
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fig, 151.
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fig, 152.
Graphic Language
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SERIES 3: FLORA B. Peony
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Graphic Language
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fig, 153 to 155.
The figure 153 to 156 are showing the process of exploring the contemporary graphic language of the series of the Peony.
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fig, 156
Graphic Language
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fig, 157.
Final pieces of graphic language of the Chinese cheongsam of series of the Peony. (fig, 157 to 166)
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fig, 158
Graphic Language
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fig, 159.
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fig, 160.
Graphic Language
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fig, 161.
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fig, 162.
Graphic Language
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fig, 163.
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fig, 164.
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fig, 165.
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fig, 166.
Graphic Language
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SERIES 4: ANIMAL A. Red - crowned Crane
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Graphic Language
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fig, 167, 168, 169.
The figure 167 to 170 are showing the process of exploring the contemporary graphic language of the series of the Red - crowned Crane.
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fig, 170.
Graphic Language
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fig, 171, 172.
Final pieces of graphic language of the Chinese cheongsam of series of the Red - crowned Crane. (fig, 171 to 187.)
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fig, 173.
Graphic Language
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fig, 174.
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fig, 175.
Graphic Language
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fig, 176.
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fig, 177.
Graphic Language
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fig, 178.
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fig, 179.
Graphic Language
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fig, 180.
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fig, 181.
Graphic Language
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fig, 182.
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fig, 183.
Graphic Language
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fig, 184 to 186.
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fig, 187.
Graphic Language
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SERIES 4: ANIMAL B. Butterfly
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Graphic Language
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fig, 188, 189.
The figure 188 to 191 are showing the process of exploring the contemporary graphic language of the series of the Butterfly.
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fig, 190.
fig, 191.
Graphic Language
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fig, 192.
Final pieces of graphic language of the Chinese cheongsam of series of the Butterfly. (fig, 192 to 203)
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fig, 193.
Graphic Language
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fig, 194.
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fig, 195.
Graphic Language
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fig, 196.
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fig, 197.
Graphic Language
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fig, 198, 199
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fig, 198, 199
Graphic Language
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fig, 200, 201.
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fig, 202, 203.
Graphic Language
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The PROCESS of OUTCOME
DIGITAL PRINTING ON SILK
Finally, I went to the London College of Fashion to asking about how to print on the silk. The technician told me they would not open this work shop until November, but an other work shop, outside the University, named Cameron Gilmartin which was recommended by her. I found that work shop and the technique of digital textile printing has been used to print the contemporary graphic language of the Chinese cheongsam on silk. (fig 204 to 206 )
fig, 204. Digital textile printing.
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fig, 205, 206. Scanned two pieces of silk printing.
The Process of Outcome
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POSTCARDS MADE by SILK
PROCESS of SERIES 1: fig, 207. Step 1. Print the Postcard in single side.
fig, 208. Step 2. Hollow out the wing of butterfly by Laser cutting.
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fig, 209. Step 3. Insert a piece of silk into the postcard.
fig, 210, 211. Step 4. Finish.
The Process of Outcome
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PROCESS of SERIES 2: fig, 212. Step 1. Prepare a piece of silk, a fram and an A6 Size Paper.
Silk
Frame
A6 Size Paper
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fig, 213. Step 2. Insert the silk into the frame and A6 sizze paper.
fig, 214. Step 3. Finish.
The Process of Outcome
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SCARFS & HANDKERCHIEFS
PROCESS of SEWING EDGES
fig, 215.
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fig, 216, 217, 218. Combining with hand making and sewing machine.
The Process of Outcome
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Embroidery Bookmarks
PROCESS of EMBROIDERY
fig, 219, 220. Step 1/2.
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fig, 221, 222. Step 3/4.
The Process of Outcome
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WRAPPING PAPERS
WRAPING PAPER’S OUTCOME
fig, 223.
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fig, 224.
fig, 225.
The Process of Outcome
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fig, 226.
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fig, 227.
The Process of Outcome
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fig, 228.
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fig, 229.
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fig, 230.
fig, 231.
The Process of Outcome
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fig, 232.
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fig, 233.
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fig, 234.
The Process of Outcome
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fig, 235.
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fig, 236.
fig, 237.
The Process of Outcome
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fig, 238.
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fig, 239.
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fig, 240.
fig, 241.
The Process of Outcome
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fig, 242.
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fig, 243.
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fig, 244.
The Process of Outcome
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fig, 245.
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fig, 246.
fig, 247.
The Process of Outcome
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SAMPLES OF PRINTED WRAPPINGPAPER
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The Process of Outcome
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UNIT 3.0/2013 THE MAJOR PROJECT VISUAL SUMMARY LCC MAGD GUANJIAO LI
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DESIGNED by CCINO.JIAO Thank to all the committees involved with the production of this project, especially thanks to my tutor Russell Bestley & Susannah Rees. London College of Communication MA Graphic Design Ccino. Jiao ccino.jiao@gmail.com Š 2013 Guanjiao Li All rights reserved Printed and bound in London
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