FINAL PORTFOLIO GRAPHIC DESIGN 1: IMAGE AND TEXT JEREMY BONWICK 697718 THURSDAY 10AM
MODULAR TYPEFACE
CURVED SANS DISPLAY
CURVED: DISPLAY FONT
The font ‘Curved’ arose from an exploration of ideas of modularity and devising a rigorous formula for defining each character’s shape. The font is based on a 4x5 grid structure with edges curved inside a single square of that grid. The most successful characters are those which have tapered protrusions, such as the F and E where the curves on the central strokes form a pleasing shape.
CURVED: LIGHT VARIANT
After the initial bolder font was drawn a new set of lighter characters was created. Following the same rules, these letters were based around a grid of smaller squares, thus reducing the thickness of each letter and making the curves more subtly. This font is perhaps more successful as its letter feel tighter as the grid allowed for more options in the creation of each letter. The K for example seems much more harmonious in the light variant.
typography by students of the Bachelor of Design
CURVED SANS LIGHT
EXPERIMENTS WITH SUPER THIN
Victorian College of the Arts and The University of Melbourne
CURVED SANS LIGHT
Not developed across the whole glyph set, an even thinner version of the font was consider which maintained the curved edges but reduced the form to lines rather than masses. The result would see the curved ends to letters continue around 90° before being capped, forming an outline of the original font. The design would have worked particularly well for display situations and with characters connected by their edges for a continuous and abstract aesthetic.
POSTER SERIES
METRO GOLDWYN MAYER PRESENTS 2001: A SPACE ODYSSEY A STANLEY KUBRICK FILM STARRING KEIR DULLEA WILLIAM SYLVESTER GARY LOCKWOOD AND DOUGLAS RAIN AS HAL SCREENPLAY BY STANLEY KUBRICK AND ARTHUR C. CLARKE ADAPTED FROM THE SENTINEL A SHORT STORY BY ARTHUR C. CLARKE
THE SEEDS OF DEATH
The 1969 episode of ‘Doctor Who’, The Seeds of Death was the initial subject matter chosen for the poster series. The first few designs culminated in this image which references an iconic moment in the story. The pulsing back-project screen of the moon-base forms the background of the image, with its psychedelic pattern subtly pinched in the middle, contrasted against the silhouettes of the Ice Lord and a human slave.
2001: A SPACE ODYSSEY
As the subject matter of the posters changed to Stanley Kubrick’s seminal 1968 film 2001: A Space Odyssey, an even simpler and minimalistic approach was taken. The above image forms the first of the designs centered around the film, taking a reductionistic approach to the eclipse at the beginning of the film’s title sequence. The simple shapes have a subtle gradient across the surface and otherwise are stark and bold.
METRO GOLDWYN MAYER PRESENTS 2001: A SPACE ODYSSEY A STANLEY KUBRICK FILM STARRING KEIR DULLEA WILLIAM SYLVESTER GARY LOCKWOOD AND DOUGLAS RAIN AS HAL SCREENPLAY BY STANLEY KUBRICK AND ARTHUR C. CLARKE ADAPTED FROM THE SENTINEL A SHORT STORY BY ARTHUR C. CLARKE
HAL 9000
In delving deeper into the iconography of 2001, the imagery of the super computer, Hal’s ‘eye’ formed the basis of this work. Emerging from the blackness around with a faint red hue, the eye radiates from its center, both echoing the human retina and also being a totally mechanical departure from that. The subtleties of the ‘eye‘ proved a challenge to recreate, from the searing yellow-orange central circle to the very light reflections in its bulbous surface.
THE MONOLITH The final poster for 2001 takes the iconic image of the mysterious Monolith as its basis, recreating the frame from the film when the celestial bodies align with the black mass. The combines illustrative and photographic in an attempt to break free of the digitized, ‘Illustrator look’. The area of black dominates the image, but the eye travels along the axis created by the Monolith, sun and moon. There is an unsettling sens of perspective in the original Kubrick composition which was emulated in the poster. The lack of a title (barring in the billing in the bottom right corner) furthers the confusing and mysterious nature of the image.