TYP EPR INT
& PROCESS BOOK
SUMMER TASKS
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FAMILY MONOGRAMS
Henrik Boudewyn Rompis
My paternal great grandfather was born in Manado, the capital of the North Sulawesi province in Indonesia where it was orginally inhabited by Philipine-language speaking people, then colonized by the Portugese, then Spanish and lastly the Dutch. The Rompis clan belonged to the Minahasa tribe, they were strongly Protestant (although my great grandfather was a Seventh-day Adventist) and they owned the lands in the area which they lease out to businesses and individuals. They were also involved in coconut tree plantation and farming. They spoke Manado Malay generally and Tonsea, a sub-tribal austronesian language.
Rokiah Bte Abdul Wahab
My maternal great grandmother was born in pre-indendence Singapore were she was the youngest child of a chinese family. Not much was known of them because she was given to a Malay family when she was really young during the Japanese occupation. Her biological parents could not take care of another child and the Chinese were treated much worse than the Malays. She studied in an Arabic school and only knew how to write in Jawi, the arabic alphabet for writing the Malay language in South East Asia.
THINGS I HAVE LEARNED SO FAR
I AM ONLY HUMAN
“I am only human.”
FAMILY MONOGRAMS
I
FAMILY MONOGRAMS
Henrik Boudewyn Rompis
Kristie Ayu Rompis
Rokiah Bte Abdul Wahab
Kristie Ayu Rompis
A BOOK ABOUT A FILM
II
Editorial Design Project Brief
! !
"
Bristol School of Creative Arts, Humanities and Education BA Hons Graphic Design!
Exploring & Developing Practice in Graphic Design UADAPJ-45-2!
Typography and Print !
! Project 2 Main Brief: " ! ! !
A Book About A Film!
Briefing Thursday February 26th. Final hand-in Wednesday May 5th. ! See module brief and calendar for interim critiques and assessment details!
Cinema is typically about stories. The roots of the medium are tied in with literature and story telling.!
We want you to choose a film from either the BFI’s list of top 50 greatest film of all time: http://www.bfi.org.uk/news/50-greatest-films-all-time! or a personal choice based on particular (and justifiable) reasons.! You will be producing a publication that engages the reader with the film, but in a visual, conceptual and ‘lateral’ way.!
!
Watch the film, immerse yourself in its narrative. Research all aspects of the film to build up a picture of the film itself and of its creation. The director, the screenplay, the author (if based on a book) – what is the film about, what are the themes it explores? What has it got to say about politics, social interaction, history, sex, science, faith, etc. Remember the film is the starting point for a deeper investigation. Use articles, books and other written material about the film to inform and offer possible routes into the ways and methods of producing your final outcome.!
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Transform those results into a final outcome that contains both text and image. Compile the material in an order that underlines your system of narrative. Develop a strategy/language for treating your material, how to visualize and clarify/explain to the user your way of looking at the film. Consider the relationship between text and image, the composition, grid use, use of colour, typographic treatments and hierarchy of information. Find one method/technique/“treatment” to adapt to all of the imagery that provides a consistent look and feel to your final publication. Strive for excellence both with your typographic applications and production techniques.!
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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.! Remember that, after the initial workshops, you will need to plan your time and book access to the workshops if you need them to complete your final outcome.! Useful references: ‘Zona: A Book about a film about a journey to a room’ by Geoff Dyer (available on Amazon.co.uk), ‘Zabriskie Point’ by Olof Nicolai. Little White Lies film magazine. ‘Palm Desert’ and ‘Cucamonga’ by Rudy VanderLans (www.emigre.com), ‘Staring into medusa’s Eyes’ by CJ Brown (cj-browndesign.com), McSweeney’s Quarterly Concern (www.mcsweeneys.net/), wwwthebigpicturemagazine.com, www.movieclips.com
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1!
PECHA KUCHA
10 Images x 20 Seconds
SCREENGEM Psycho House
Psycho
The Bate’s mansion is the archetypical Victorian home with a stuffed interior and an ominous facade. According to his daughter, Hitchcock wanted the audience to fear the house each time they saw it and to wonder what was going on inside. The house is a personification of the antagonist Norman Bate’s mind. Like his home, his mind is chaotic with him having to share its space with his mother. His mother’s personality resides in his mind and we see it physically as his mother’s corpse resides in the basement of the house. The Victorian mansion is typically known for hiding secrets behind its doors and that is exactly how Norman’s mind is. The audience gets an insight into Norman’s subconscious through the house where he retreats right after he had a chat with Marion, his next victim. It is also the place where he feels mostly in control, killing the private investigator in the house itself. The mansion is one of the objects that easily identifies the movie and has set the foundation of many horror films that succeed it. The house has also been featured in several television productions and is still part of the Universal Studios Tour today.
Screengem Evocative Objects Onscreen
4 FRAMES
PSYCHO ALFRED HITCHCOCK
2
1 3
4
The parlour scene is an underrated moment of the movie Psycho, compared to the notorious shower scene. However, Alfred Hitchcock cleverly uses symbolism and contrast to set the grounds for the twist in his film. It is also the driving force for the shower scene following it. It is the place where Norman spends most of his time in. It is interesting how it sort of represents Norman’s conscious/normal mind with the presence of the birds which is his hobby whilst the house represents his subconscious mind. In the first scene, the audience sees both Marion and Norman in the frame. Hitchcock specifically places Norman in the dark whilst Marion is bathed in light. This symbolises her not so much her innocence because she has actually stolen money from her boss but her naivety at trusting Norman, a mere stranger whom she has just met and having a late snack with him. This is further proven with the conversation they share. In the second scene, we see a stuffed owl, with its wings spread out as if attacking its prey. It is hanging forbiddingly, watching over them, or more specifically in this frame, Norman. This could signify ‘Mother’, the woman who never leaves Norman’s side and especially when he is attracted by a pretty girl. The use of owl is also significant as it symbolises impending death which we see in the following scene. The owl is also a predatory species of birds and this could be a representation of Norman to Marion as in the third scene, he comments that she ate like a bird. When questioned about his interest in taxidermy, Norman replies that he enjoys stuffing things and prefers birds to beasts as they are far more passive creatures. This is a fine example of the many double entendres that can be heard throughout the film. A passive creature which is alluded to Marion as well as she is a woman who can be overpowered by a man in strength. This is a hint to viewers about the sort of personality that Mother/Norman looks for in a victim. It could also be a hint to Norman’s personality – that he is passive on the surface but there is an aggression inside him as well. In the final scene, we see Norman with an angry expression on his face after Marion suggests to place his mentally unstable mother in the mental institution. Here, we can see the hidden aggression surfacing and Marion was slightly afraid. It is also worth noting the way the light falls upon Norman’s face. It nicely divides his face to hint at his split personality.
The parlour scene is an underrated moment of the movie Psycho, compared to the notorious shower scene. However, Alfred Hitchcock cleverly uses symbolism and contrast to set the grounds for the twist in his film. It is also the driving force for the shower scene following it. It is the place where Norman spends most of his time in. It is interesting how it sort of represents Norman’s conscious/normal mind with the presence of the birds which is his hobby whilst the house represents his subconscious mind. In the first scene, the audience sees both Marion and Norman in the frame. Hitchcock specifically places Norman in the dark whilst Marion is bathed in light. This symbolises her not so much her innocence because she has actually stolen money from her boss but her naivety at trusting Norman, a mere stranger whom she has just met and having a late snack with him. This is further proven with the conversation they share. In the second scene, we see a stuffed owl, with its wings spread out as if attacking its prey. It is hanging forbiddingly, watching over them, or more specifically in this frame, Norman. This could signify ‘Mother’, the woman who never leaves Norman’s side and especially when he is attracted by a pretty girl. The use of owl is also significant as it symbolises impending death which we see in the following scene. The owl is also a predatory species of birds and this could be a representation of Norman to Marion as in the third scene, he comments that she ate like a bird. When questioned about his interest in taxidermy, Norman replies that he enjoys stuffing things and prefers birds to beasts as they are far more passive creatures. This is a fine example of the many double entendres that can be heard throughout the film. A passive creature which is alluded to Marion as well as she is a woman who can be overpowered by a man in strength. This is a hint to viewers about the sort of personality that Mother/Norman looks for in a victim. It could also be a hint to Norman’s personality – that he is passive on the surface but there is an aggression inside him as well. In the final scene, we see Norman with an angry expression on his face after Marion suggests to place his mentally unstable mother in the mental institution. Here, we can see the hidden aggression surfacing and Marion was slightly afraid. It is also worth noting the way the light falls upon Norman’s face. It nicely divides his face to hint at his split personality.
Fonts
ABCDEFGHIJKLMOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 ABCDEFGHIJKLMOPQRSTUVWXYZ !@#$%^&*() abcdefghijklmnopqrstuvwxyz 0123456789 ABCDEFGHIJKLMOPQRSTUVWXYZ !@#$%^&*() abcdefghijklmnopqrstuvwxyz 0123456789 ABCDEFGHIJKLMOPQRSTUVWXYZ !@#$%^&*() abcdefghijklmnopqrstuvwxyz 0123456789 !@#$%^&*()
TEX GYRE HEROS ABCDEFGHIJKLMOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 !@#$%^&*() ABCDEFGHIJKLMOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 !@#$%^&*()
ABCDEFGHIJKLMOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 !@#$%^&*() ABCDEFGHIJKLMOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 !@#$%^&*()
ABCDEFGHIJKLMOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 ABCDEFGHIJKLMOPQRSTUVWXYZ !@#$%^&*() abcdefghijklmnopqrstuvwxyz 0123456789 ABCDEFGHIJKLMOPQRSTUVWXYZ !@#$%^&*() abcdefghijklmnopqrstuvwxyz 0123456789 ABCDEFGHIJKLMOPQRSTUVWXYZ !@#$%^&*() abcdefghijklmnopqrstuvwxyz 0123456789 !@#$%^&*()
VOLLKORN ABCDEFGHIJKLMOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 !@#$%^&*() ABCDEFGHIJKLMOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMOPQRSTUVWXYZ 0123456789 abcdefghijklmnopqrstuvwxyz !@#$%^&*() 0123456789 !@#$%^&*() ABCDEFGHIJKLMOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 !@#$%^&*()
Colour
C M Y K
C M Y K
24 100 100 10
0 0 0 0
C M Y K 45 40 40 100
Book Layout
Themes
Duality Contrast Symbolism Double Entendre Psychoanalysis Influence Legacy
WORKSHOP POSTER
III
Editorial Design Project Brief
! !
"
Bristol School of Creative Arts BA Hons Graphic Design!
Exploring & Developing Practice in Graphic Design UADAPJ-45-2!
Typography and Print !
! ! Workshop Project 3: " ! !
Typographic Poster !
Briefing Thursday February 5th. / Crit Thursday March 12th / Final hand-in Monday May 5th. ! See module brief and calendar for interim critiques and assessment details!
You will produce a screenprinted A3, 2 colour (spot colour) typographic poster to celebrate the International Year of Light.!
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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 1950s, 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)"
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You will be given a grid template along with set text that must be used on your final poster. ! Visit the Year of Light website to research the subject further and to generate initial ideas:" http://www.light2015.org/Home/About.html!
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You will need to bring 2 sheets of folex to your Indesign workshop which you can buy from the art store and bring £5 to your screenprinting workshop (for screens)" Workshops begin on Friday 6th 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.!
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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 International Year of Light: http://www.light2015.org/Home/About.html! Swiss Poster designs: www.internationalposter.com / keywords “Typographic Style”! Astronomy posters: http://www.creativereview.co.uk/cr-blog/2009/november/astronomy-posters!
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WORKSHOP POSTER
The International Year of Light is a global initiative which will highlight to the citizens of the world the importance of light and global technologies in their lives, for their futures, and for the development of society. www.light2015.org
ESCAPE PLAN INFOGRAPHIC
IV
Editorial Design Project Brief
! !
"
Bristol School of Creative Arts, Humanities and Education BA Hons Graphic Design!
Exploring & Developing Practice in Graphic Design UADAPJ-45-2!
Typography and Print !
! ! Project 4: " ! !
Escape Plan!
Briefing Thursday February 19th. Final crit Thursday March 12th. ! See module brief and calendar for interim critiques and assessment details!
You are required to create an infographic that visualises - in as much detail as possible - an escape plan for a given situation.!
! !
Escape: To break loose from confinement; get free! The Wikipedia definition of information graphics goes as follows:" ‘Information 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.’!
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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 ‘mental categories’ that we all share.!
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This project tasks you with producing an infographic to illustrate an escape plan." Consider what is meant by escape to then figure out what personal situation or particular circumstance you or someone else would wish to escape from: A relationship? A siege situation? A job you dislike? Facebook?! Once you have selected your subject/topic, you must gather as much content as possible in order to illustrate the escape plan. Will this be purely visual similar to IKEA furniture instructions? Will the narrative be a signage system intended for the public domain? Will it be a set of instructions akin to a manual? Will it be a map?! 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. !
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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 12th, and also at the final assessment on Monday May 5th!
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Designers to look at: Nick Felton, Accept & Proceed, David McCandless, Edward Tufte, Ciaran Hughes, David Macaulay,
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HOW TO ESCAPE BUDGET AIRLINE BAGGAGE FEES
PACK TO ESCAPE
BAGGAGE FEES FOR A MONTH’S TRAVEL
50CM
20CM
40CM