What Is Research by Kristen Fraser

KRISTEN FRASER

WHAT IS RESEARCH?

EDITORIAL WHAT IS DESIGN REHISTORY SEARCH? WHAT PRACTIS SIONERS RESEARCH? WEAPWHAT ONS IS OF RESEARCH? REASON HUMAN WHAT IS AFTER REALL SEARCH? THE WHAT CHURCH IS OF RESEARCH? LONDONWHAT LITTLE IS WHITE RESEARCH? LIES

â&#x20AC;&#x153;Research is to see what everybody else has seen, and think what nobody has thoughtâ&#x20AC;?

-Dr. Albert Szent-Gyorgyi

CONTENTS

Editorial design History of editorial design Why Iâ&#x20AC;&#x2122;ve chosen this area Historical practisioners Otl Aicher Saul Bass Wim Crouwel Chip Kidd Current practisioners Carl Rush Human After All Just Tuna Weapons Of Reasons The Church Of London Little White Lies Interactivity Siggi Eggertsson Other features Timba Smits Mini magazine Social Media Little White Lies Weekly My book design process 3D Anaglyph Made You Look Layout design Colour palette Layout and type experiments Evaluation List of illustrations Bibliography

/6 /8 /10 /12 /14 /18 /22 /26 /30 /32 /38 /40 /48 /56 /58 /72 /76 /80 /82 /88 /92 /94 /96 /98 /104 /108 /114 /116 /144 /146 /148

EDITORIAL DESIGN

graphic

information

design,the is

way

that

presented

and

understood by a viewer is important in editorial design. Editorial

designers

create

the

visual aesthetic, including layout, typography

and

composition

magazines, books, newspapers, online publications and other media. Each type

design

publication concerns.

has

For

different

example

arts magazine like VNA would have a different aesthetic to a newspaper such as the Guardian. An element such as the typography for one would be much more experimental and inventive whereas the latter would use a type thatâ&#x20AC;&#x2122;s clear and legible so that it can be read easily. 7

HISTORY OF EDITORIAL DESIGN

Copyists, in the middle ages were in

essence

the

first

editorial

designers. They were in charge of making handwritings, setting margins, column

and

engravings,

spacing.

Woodcuts

and

invention

the

lithography were used but this made mass production more expensive and slowed down production. In the 20th century there was a great change to editorial design when the Bauhaus was established. Designers from this school were the first to produce works with design guidelines. In the 1980s the invention of the Macintosh for

provided

designers

new

platform

communicate.

New

technologies have had both a positive and negative impact on design. While the computer has increased efficiency and ease of design and also allowed a new platform on which not only to create but to view design, it has also meant while digital media thrives, print media is declining. 9

WH WHY

HY I have chosen to focus on the area of

editorial

because

design,

I've

enjoyed

not

only

making

own books for past projects which included

choosing,

experimenting and

layouts

magazines Lies.

such

These

designing

with

also as

types

and

type,

images

reading

Little

arts

White

based

magazines that focus on content as

alternative and experimental editorial design interest me more well

as they are based around topics that I'm interested in and they also look good so are more enjoyable to read. 11

O T S HISTORICAL PRACTISIONERS

R O Fig.1

We worked in groups on a research

As we had to present our findings

task

after,

about

using Otl

pinterest Aicher,

to a

find

out

historical

had

through

our

images and filter them so that we

designer.

had good images that were relevant

I found using pinterest a good way

to what we wanted to say. Although

to gather information because you

the presentation didnâ&#x20AC;&#x2122;t go exactly

can use the actual site for images

smoothly, I still think it helped see

and find and upload your own images

how to gather relevant information

from different sources.

and in good time. 13

CH OTL AICHER

HE Fig.2

Fig.3

Fig.4

Otl Aicher was a German designer and

He designed the logo for Lufthansa

typographer in the mid 20th century.

airlines in 1969 (Fig.4). The logo

These are some examples of Achierâ&#x20AC;&#x2122;s

consists of an encircled stylised

early work from the 1940s (Fig.2,3).

crane in flight, which was originally

The

posters

are inspired by Henri Mattise and

concept was a simple arrow design

Aristide

but

illustrations Maillol.

The

his

letterforms

were influenced by the Bauhaus.

this

was

rejected

redesigned the original.

and

T O 16

Fig.5

L T Fig.6

Otl Achier designed icons for the

Munich Olympics in 1972 (Fig.5,6). The icons he made were used as a

universal visual language, so that all

the

countries

participating

could understand the events in the programs. Even

though

the

icons

are

Fig.7

quite

simple he used a very complex grid

Aicher

to design them. He continued this

the event (Fig.7). The colours are

style for other signs that were used

quite saturated and very bright. He

for things like directions, events,

has a set colour scheme for all the

safety signs etc. The â&#x20AC;&#x2DC;stick manâ&#x20AC;&#x2122;

content. And each poster has

figure he created is still widely

country, year, the olympic symbol

known for places such as toilets and

and logo that he designed.

road signs. 17

also

designed

posters

for

the

BA SAUL BASS

ASS Fig.8

Fig.9

Saul Bass was a designer and film

I like the simplicity of the posters

maker, he was best known for his

but they also sometimes have a hint

film posters. He worked with some

of chaos about them; the poster for

Vertigo (Fig.9) seems to use a very

Hollywoods

including

greatest

Alfred

filmmakers

Hitchcock

and

simple grid system, if there is one

Stanley Kubrick. Bass also designed

at all. And this is the same for

some iconic corporate logos in North

‘The Shining’ (Fig.8) which appears

America, including the original AT&T

to use a very simple grid so the main

“bell” logo in 1969.

focus is on the central text/image. 19

SIMon SIMonpegg pegg nick nickfrost frost

PAUL PAUL Jasonba ba teman Jason teman kristenwiig wiig kristen billhader hader bill sigourneywea wea ver sigourney ver sethrogen rogen seth

Universal pictures presents in association with relativity media a working Universal pictures presents in associa tion with rela tivity media pegg a working title production in association with big talk pictures "paul" simon nick title production in associa tion with big talk pictures simon pegg nick frost jason bateman kristen wiig bill"paul" hader blythe danner frost jason ba wiigwea bill hader blythe danner john carroll lteman ynch withkristen sigourney ver and seth rogen as "paul" john lynch with sigourney weaver and seth rogen as "paul" music by carroll david arnold editor chris dickens music by da vid arnold editor chris dickens 20

Fig.10

UL I created my own film poster (Fig.10) for a film I like called ‘Paul’. I

took

inspiration

from

Bass’

‘Vertigo’ poster (Fig.9). I liked

the placement of the text, how it was a little unstructured. I also added text at the bottom of the poster.

I also like his use of quite dominant and bold colours, which is why I

chose this green colour a long with it’s relevance to aliens. On his posters there is usually a central

image

that

draws

the

eye

first, on the ‘Vertigo’ poster it is the black silhouette of the man

Fig.11

(Fig.9). The style is very retro and

I found this book (Fig.11) in the

has a rough finish. I like how it

library

looks hand printed and not edited

style

to look ‘perfect’ with solid colour.

illustrative style. The font I used

Though, I wasn’t sure how to achieve

for my poster isn’t exactly the same

this without screen printing it.

as his but I think it looks similar. 21

which

cover,

has using

a his

Saul font

Bass and

WIM CROUWEL

Fig.12

Another class presentation on Wim Crouwel (see Fig.12). I quite liked his type as it’s quite different,

Fig.13

more experimental than a lot. on record that “the machine cannot Wim

Crowell

known

for

replace the precision of the human

his

eye and human feeling”.

typography that features on posters and postage stamps. His work is very modern and greatly influenced by the

He’s

Swiss style. Though he used a strict

posters

grid

(such as Fig.13) which is a poster

system

which

gave

his

work

also for

designed

different

number

for a Leger Exhibition in 1957.

this ‘machine aesthetic’ he’d said 23

exhibitions

W 24

Fig.14

WIM Fig.15

Similar

the

type

for

Leger

exhibition which was quite digital, in 1967 he designed the type face â&#x20AC;&#x2DC;New

Alphabetâ&#x20AC;&#x2122;

(Fig.15)

which

even more digital looking and almost illegible,

has

curves

diagonal lines. The fact that you

have to try harder to read what it says and make out the letters makes it more interesting. This font was used on a version of Joy Divisions album covers by Peter Saville (Fig.14). I think the type looks almost alien, like it could be another language. 25

K IP CHIP KIDD TED Talks

D D I K Fig.16

I watched a TED talk by Chip Kidd in

Fig.17

which he discusses some of his work.

Chip Kidd is a graphic designer who

These

is best known for his book covers,

(Fig.17), one for Katharine Hepburn’s

such as Jurassic Park.

memoirs, and the other is a biography

are

two

books

designed

of Marlene Dietrich. He said “The

In his talk he starts off by defining

Hepburn book was written in a very

what a book designer must do and

conversational

this can be the same for a magazine.

Dietrich book was an observation by

Magazine

her daughter”. One was words and one

and

book

design

must

relevant to what it is about.

style”

and

“The

was content so he created two covers that would represent this.

“They all need to look like something. They all need a face. Why? To give you a first impression of what you are about to get into. A book designer gives form to content” -Kidd

Fig.18

While Chip Kidd was designing the Jurassic park book he too had to do research. He carried out primary research by going to the Museum of Natural History to study the bones. The dinosaur he designed (Fig.18), which can be seen on the book and on all the Jurassic Park merchandise (Fig.19-21),

Fig.19

was

inspired

particular image of a T-Rex from a book he bought at the museum. “I had no idea what I was doing, I had no idea where I was going, but at some point, I stopped — when to keep going would seem like I was going too far.” - Kidd I found this an interesting point

Fig.20

it’s

relatable

all

design

process. Funnily, during his speech, he slated his own work saying it was “slightly suggestive of public park signage” which I think was in reference to the typography, which he had spent less time on.

Fig.21

E R R CURRENT PRACTISIONERS

N E R I

will

After and

be All,

Weapons

researching who

created

After

All.

into

Human

Just

Tuna

Iâ&#x20AC;&#x2122;ll

then

look into The Church Of London who publish Little White Lies magazine, including designers Siggi Eggertsson and Timba Smits. 31

CARL R USH

Fig.22

We had a designer from a creative

of different mediums; digital and

agency called Crush Creative come in

print. They’re made up of graphic

and talk to us about his company,

designers and illustrators who work

current projects and past projects

with animators, coders, filmmakers

they’ve completed, how they research

and photographers to achieve high

and helping us with our own work.

standards of work. They’ve worked with a number of different clients

Crush

independent

creative

including MTV.

agency who design on and for a number 33

LR Fig.23

Fig.24

RU We

were

given

presentation

Carl Rush on how he researches for projects:

1. “Know your subject”

Carl said that sometimes they may know nothing about the subject so have to learn about it so that they

can fully understand and create a solution that is fitting. A research technique is

mood

that

they

boarding.

The

lot

mood

board

might contain images of other work or their own ideas/sketches. This gives

further

understanding

and

inspiration. This is very relevant to this ‘What Is Research’ project as we have to understand our specialism area in depth and in doing so we can create an appropriate outcome (design and content). 2. “Who is your audience?” 3. “What’s appropriate?” 4. “How can I push it further?” 35

CA Fig.25

Fig.26

ARL Fig.28

used the design platform for a good

Fig.27

cause.

Crush creative were asked to create a video (Fig.25,26) and a website

I think the website has changed a

informing people of Shellâ&#x20AC;&#x2122;s plans

bit since it was made but it still

to drill for oil in the Arctic. I

has the same aim, which I signed.

really liked this video, not just

But the importance was the video,

for the animation but as it was for

it went viral after it was released

a very good cause that people should

which would have made an impact on a

be more aware of.

important cause.

The outcome of the video was really well achieved. Animation is usually more lighthearted but Crushâ&#x20AC;&#x2122;s use of geometric shapes and realistic colours

and

sophisticated

backgrounds and

are

very

sensitive.

They 37

L I M HUMAN AFTER ALL Danny Miller

E L L After TCOLondon, Danny Miller became

the

the founder and CEO of Human After

communication materials that bring

All, a London based design agency.

together rich ideas and intelligent

They

design" - HAA

use

'creativity

connect

best

service

and

crafting

people with their passions' using

Danny Miller - Founder and CEO

intelligent design. The companies work includes publishing, digital,

Rob Longworth - Founder and Executive

campaigns, and branding.

Creative Director They've worked with companies such as

Greenpeace,

Curzon,

Paul

Facebook,

Willoughby

Founder

and

Bafta, Everyman, Youtube and Google.

Executive Creative Director

"We clarify the complex to inspire

“We deliver every project - whether

positive change."

it’s a branding, digital, publishing or campaign - using the same threephased approach:” - HAA

"We collaborate with brands of any size that have passion and purpose. We

pride

ourselves

providing Fig.29

#JU #JUST TUNA

Human After All & Greenpeace

US Fig.30

Fig.31

Human After All created a campaign for Greenpeace called Just Tuna to expose brands in the UK tuna market who exploit the planet, people and the environment, for profit. Just Tuna aimed to bring about change in

the

tuna

influencing

industry,

this

sustainable

Fig.32

They

meant

also

created

the

hashtag

#JustTuna

fishing

methods to catch 'just tuna' instead of harming other sea creatures. And

â&#x20AC;&#x153;From

also shine light on the human rights

create campaigns that make people

abuse in this industry.

pay attention.â&#x20AC;? - HAA 41

concept

execution,

Fig.33

Fig.35

Greenpeace

produces

Fig.36

annual

able to use it.

tuna league table. So Human After All were commissioned to create a

I really like the design as itâ&#x20AC;&#x2122;s

concertina

major

simple yet really stands out. I also

UK tuna brands from best to worst.

especially like the illustrations;

On the reverse side of the leaflet

the

there are facts and statistics about

composition of elements works well.

leaflet

showing

sketchy

style.

Also

the

the tuna industry. Within 3 days 41,000 people signed up to the campaign.

The visual identity for this project was 'striking but sensitive'. You can appreciate the design for two

The campaign became front page news

reasons; one because it's eye catching

and was featured in The Times, the

and the other for displaying a big

Daily Mail and more.

issue in such a way that is clear to read and easy to understand. This is good because people of all ages are

Fig.34

# 46

Fig.37

J # Fig.38

Fig.39

The Just Tuna campaign also had a website sign

the

(Fig.38) petition

where to

you stop

could brands

selling unsustainable tuna. On the website is also the list of major UK tuna brands from best to worst with an illustration of the tin next to each number (Fig.39). 47

WEAPONS OF REASON

"Our goal is to inspire people to think

about

big

problems

and

encourage them to take action" - HAA This is an informative magazine about current

issues/problems

that

are

being tackled today, such as global warming. Itâ&#x20AC;&#x2122;s a magazine that turns knowledge into potential action Created, in partnership with D&AD, by

Human

magazine

After was

All

planned

in to

2014.

The

last

for

four years and release eight issues from 2014-2018. Editor, James Cartwright "Ambitious, personal and driven by our desire to use design as a force for good" - HAA The audience for this magazine is everyone. Subjects explored within the issues are relevant to everyone. Price - ÂŁ6 49

S 50

Fig.40

SO “The

visual

information

needs

travel fast – there’s no pointless decoration

embellishment.

Everything is lean and done for a reason.” - Paul Willoughby

This magazine has a very clean and

simplistic style. They commissioned

Fig.41

leading illustrators including Jean Jullien and Adrian Johnson working with

illustrators

Anna

Dunn,

Eve

Lloyd Knight from Human After All. There are many different illustrators and writers for the magazine. But the layout and consistency stays the same throughout. I like how it’s quite

Fig.42

simple, bright and easy to read. All these elements and the fact that I think it has some really interesting topics, especially the first issue, make it all the more appealing. I think this style would really suit a digital platform as its so clean, and quite big and bold.

Fig.43

R 52

Fig.44

RE Fig.45

The Arctic; this is the first issue (Fig.44-47).

The

magazine

split

into

three

sections, the past which provides context on the issues presented (in this case the arctic), the present which looks at challenges we face today and finally the future which

Fig.46

explores different opportunities the future may hold. Out of the issues that have come out so far, I like this one the best mostly because the topic makes it

appealing

and

the

illustrations just make it even more so. Fig.47

Fig.48

Fig.49

DA THE CHURCH OF LONDON Danny Miller

ANN Danny

Miller

was

the

founder

and

Agency:

CEO of a publishing company called

Timba

The Church of London from 2005 to

Shelley

2013.

Laurene Boglio - Designer, Oliver

were

Both

TCOLondon

university

and

projects

LWLies

that

Smits

Creative

DirectoR,

Creative,

Jones

Lead

Stafford - Designer, Vince Medeiros

later developed with co-founders Rob

- Publisher

Longworth and Paul Willoughby. Editorial: TCOLondon

publishes

Little

White

David Jenkins - LWL Editor, Adam

Lies and Huck magazine.

Woodward Andrea

Their clients include Google, Levi,

Chief

Apple and Sony to name a few. 57

LWL

Kurland

Digital -

Huck

Editor, Editor-in

LITTLE WHITE LIES

IES Bi Monthly print Magazine established

in 2005. Consists of film reviews, articles

and

interviews

with

directors and actors.

Originally created by Danny Miller for

his

third

year

university

project, now founder of The Church Of London, a design and publishing company who also publishes LWLies magazine.

“Combining

illustration

cutting-edge and

design,

journalism”

-Little White Lies Editorial:

Matt Bochenski (2005-13)

David Jenkins (2013-present) Designers: Paul

Willoughby,

Rob

Longworth,

Angus MacPherson (2005-13) Timba Smits, Laurène Boglio, Oliver Stafford (2013-present) Price of issue: £6-£10 59

L 60

Fig.50

LIE Attack The Block, Issue 34 - Mar/ Apr 2011 (Fig.50-54).

Every issue’s design is inspired by

the film that is featured. Different illustrations

(some

designers

outside of the magazine) for each issue created in different styles.

Fig.51

Elements

such

type

and

icons

are influenced by the cover film. However there is still a consistency throughout

the

issues.

The

type,

illustrations and composition styles representative of the film. A 'Block' and ‘space’ style type

are used

throughout this issue.

Fig.52

As Chip Kidd said “They all need a face. Why? To give you a first impression of what you are about to get into”. The design style relates to the film and helps the audience to make a decision at first glance on whether they want to read it or not. Fig.53

Fig.54

EAT 64

Fig.55

TIVI Star Trek, Issue 23 - Jun 8, 2009

Content layout is similar for each

issue and consists of a front page, double

page

with

title,

articles

text,

and

chapter

interviews,

reviews at the end, credits, and sometimes next issue introduction.

The content is made up of chapters/ acts; the lead review of the film, various

feature

articles

all

contextual and graphically inspired by the cover film, and a reviews section of upcoming films. There are also adverts throughtout the magazine. 65

INT Fig.56

Fig.57

Fig.58

Fig.59

Fig.60

Fig.61

TER I

the

type

used

for

this

issue’s chapters. The typeface is Wim Crouwel’s ‘New Alphabet’ which

I described earlier as almost alien, like it could be another language,

so it works very well for the Star Trek issue. Especially on the pages with this type; a challenge to read each word which makes it much more engaging and interesting. It reads 'Chapter two in which we introduce ourselves'. Interesting

composition

for

these pages. Dots were used as a 'background' images. 67

but

appear

over

the

L 68

Fig.62

LIE Lawless, Isuue 42 - Jul/Aug 2012

Woodcut and Ink technique was used

Fig.63

to design every page of the magazine

(Fig.62-65) and then reprinted for the

public.

This

style

used

throughout the whole magazine. Western style type and images. Published on Jul 2, 2012

Fig.64

Designers. Angus McPherson (LWLies designer), Fabrizio Festa (TCOLondon designer) and

Eve

Lloyd

Knight

(TCOLondon

design intern). This is one of my favourite issues because of the style that itâ&#x20AC;&#x2122;s been made in; it looks very hand made.

Fig.65

T IN Fig.66

Fig.67

R E T Fig.68

Fig.69

E T N CREA INTERAC tivity

R E T Fig.71 Fig.70

One of the great things about this

Rogue One: A Star Wars Story, Issue

magazine

67, 2016.

that

it's

also

very

engaging not just on a visual level. You don't just read the magazine,

Little White Lies designed a colour-

you can interact with it too. It's

in front cover for the latest Star

combining

wars movie (Fig.71). Cover by Timba

the

aesthetic

Smits and Chris Delorenzo

with the interactivity of digital. 73

Fig.72

INT The Master, Issue 44, Nov/Dec 2012 Designer - Angus McPherson

Cover artist - Siggi Eggertsson

This issue provided the readers with

Fig.73

3D glasses so that the content and cover can be viewed in 3D. Made using 3D anaglyph. The

cover

consists

two

illustrations, one blue portrait and one red laid over each other. Fig.74

The

inside

content

also

contains

pages where the 3D glasses can be used. The

type

has

also

been

cleverly

manipulated so that the there are two titles merged into one but can be clearly seen when through the 3D glasses.

Fig.75

G I S SIGGI EGGERTSSON

Fig.76

Fig.77

Siggi Eggertsson is a designer for

into one another but not so much as

Little White Lies. As can be seen

to disrupt the text, you can still

from some of his work, including the

read it clearly.

cover of The Master issue, he has his own distinctive style which is

He designs on a number of different

quite similar to poly-low art but

mediums including magazines (such as

has a bit more freedom in the shapes.

Fig.77) which was a piece he did for

This style is also translated over

The New Yorker), posters, screens

to his typography such as the type

and clothing.

on the â&#x20AC;&#x2DC;Technicolorâ&#x20AC;&#x2122; CD he designed (Fig.76).

particularly

liked

this package design because of the colours. They are metallic and fade 77

78 Fig.78

SO These are pieces he designed in a

project called ‘Drift’. It stood out

to me as it appears to be moving, though

reality

isn’t.

It’s

another element, like Little White Lies, the

that viewer

very

which

engaging makes

with more

interesting. I think the style Fig.78 shows one of the illustrations he It’s

designed designed

for in

Wired his

magazine.

style;

made

up of small shapes. And looks quite digital

like most of his work. They

look like they should be animated.

Fig.79

H T O OTHER FEATURES

E H Fig.84

In the magazine they also introduce the people who created the magazine/ issue.

Fig.80,81,82,83

And

the

page

number

Next to the page numbers on each

illustrations, above the names are

issue are images related to the film

little illustrations.

featured in the magazine. For example in

the

Lawless

issue,

thereâ&#x20AC;&#x2122;s

In the Star Trek issue above the

illustration of a bottle of moonshine

names are different guns, like the

(Fig.82). From the attack the block

ones

issue thereâ&#x20AC;&#x2122;s

a silhouette of a man

Attack the Block issue are images

on a bike (from one of the scenes in

of hooded figures (the same style as

the film) (Fig.83).

the characters in the film). 81

from

the

films.

And

the

M I T TIMBA SMITS

MB Fig.85

Fig.86

Timba Smits is the art director for Little

He’s

Timba Smits has a very distinctive

designed many of the Little White

White

style. A lot of his pieces use quite

Lies

natural earth tones. Mostly oranges

covers

Lies

magazine.

including

the

‘Rogue

One’ cover.

and

reds.

They’re

also

all

very

illustrative and have a real hand

(Fig.85)

icon

designed

drawn style.

response to the poaching of Cecil the lion in 2015. I really like this

Smits designed the Free Fire issue

piece in particular because of it’s

(Fig.86) which is the current issue

simplicity. The composition of lines

from Little White Lies. Out of all

and block colour work really well.

the covers he’s created, this one is

It could work well as a logo too.

greatly representative of his style. 83

S 84

Fig.87

SMIT Fig.88

Fig.89

Inside Llewyn Davis, issue 69.

This was one of his pieces that he created for The Black Seeds event

This is one of my favourite issue

(see Fig.88), that was unfortunately

covers

rejected. It was inspired by a stereo

from

Smits

(Fig.87).

reminds me of David Carsonâ&#x20AC;&#x2122;s work

jukebox.

as itâ&#x20AC;&#x2122;s quite messy and hard to make out what the text says. I think this

(Fig.89) Custom designed numbers he

makes it more engaging to the viewer.

created for Mens Fitness UK. They

I also like the ripped technique to

were inspired by super hero comics.

reveal the image underneath.

I especially like the number 8. 85

SM 86

Fig.90

MIT Fig.91

The 1994 Issue 56 - Nov/Dec 2014 (Fig.90) An

Fig.92

cover

exquisite

corpse

Timba cover

Smits. of

Jim

Carrey for the 1994 issue. He drew three portraits of Jim Carrey (Lloyd Christmas, The Mask and Ace Ventura) and used a torn collage effect that reveals parts of each character. Eye

catching,

vibrant

collaged effect and characters.

Fig.93

colours,

recognisable

GAZ MINI MAGAZINE

ZIN Little

white

lies

created

miniaturised copy of current issues that they give away for free in shops around the UK. This is a promotional method

gain

new

readers.

contains most of the content but in a condensed size. 89

Fig.94

Fig.95

Fig.96

“Welcome to this free Little White

The

Lies mini mag. We’ve slimmed down

HMV Curzon (Fig.95,96). The layout

the full-fat version of our latest

is the same as the main magazine.

issue to offer tantalising teaser

They

of writer/director Nicolas Winding

separating the content. And the size

Refn’s

doesn’t detract from the design. It

superb

new

film

The

Neon

Demon” - Little White Lies

Neon

Demon

still

issue

have

found

chapters/acts

looks really nice; there are still little elements that make it, like

The mini magazine gives you a taster

illustrations and large experimental

of what’s in the actual issue, without

typefaces. I think I may actually

all the pages for advertising. It

prefer the smaller scale.

contains the magazine’s main review and

interviews

from

the

current

issue. It keeps the nicely designed pages

the

current

issue

but

condensed to half the size. 91

ED SOCIAL MEDIA

DIA Fig.98

Little

Fig.97

White

Lies

have

website

Little White Lies Instagram account

where they post reviews of the latest

features works by designers from the

films,

magazine in response to the latest

They also have a shop where you can

movies or from designers for Little

buy

White Lies Weekly app.

t-shirts and posters. 93

interviews

subscriptions,

and

trailers.

single

issues,

LITTLE WHITE LIES WEEKLY

Fig.100

Downloaded from the iTunes store or on their website. ÂŁ1.99 per month or ÂŁ9.99 for a full year. Moonlight

film

cover

(Fig.99)

Fig.99

Dean Waite, an illustrator who uses

In 2015 Little White Lies launched a

biro, marker pen and spray paint to

new app, Little White Lies Weekly.

create realistic illustrations.

A weekly edition, published every Thursday, it features the latest movie

Little White Lies interviewed Liam

reviews,

interviews,

Gallagher from Oasis for the recent

which can be downloaded to multiple

film 'Supersonic'. This illustration

devices. It features bespoke covers,

(Fig.100) by Nick Taylor was used

some of which can be downloaded from

for

different

readers to go to lwlies.com to read

articles

and

illustrators/designers

from outside the company.

Instagram

the interview. 95

post

telling

PR O MYBOOK DESIGN PROCESS

OC 97

NA 3D ANAGLYPH

AGL Fig.102

The Master issue uses 3D anaglyph to

Fig.101

create

‘2

1’

illustrations

This is what the design of my process

and text. 3D anaglyph is a type of

book was based on (Fig.101).

stereoscopic

Egertsson’s

is a technique where the illusion

front cover for Little White Lies.

of depth is created in an image.

As this magazine is so interactive

The eyes are encoded using filters

I wanted to include this aspect in

my process book. The cover for The

Master issue uses 3D glasses, not to

coloured images are used and when

create depth in the image, but so

looked through anaglyph glasses each

that when looking through the left

image

or right lens you can see different

which will then be perceived by the

images. I want to use this idea as it

brain as having a three dimensional

will make my book and broadsheet more

composition.

really

liked

Siggi

effect.

chromatically red

and

will

Stereoscopy

opposite

cyan.

reach

Two

colours

different

specific

eye,

interesting and also because I like the red and blue colours together

I bought some 3D glasses so that

(they are also able to make a third

colour when combined).

technique. 99

could

properly

research

this

NA Fig.103

Fig.106

Fig.104

Fig.107

Fig.105

100

Fig.108

NAG Iâ&#x20AC;&#x2122;ve made some notes on some elements

from the magazine that I particularly liked (page left):

I really like the overlapped text (Fig.106,107) for the heading. They use this 3D effect, so there are actually title

two

titles.

overlaps

with

Some

the

smaller

the

text; this makes the appearance and reading more fun.

Though it only uses two colours; the size, placement and type of font has

been played with to create slightly messy but exciting looking spreads. Two/three column grid system. Quotes are in a different colour.

Titles placed at the side of the page adding another interesting element. The page numbers are centred at the bottom. On

some pages there are

illustrations next to them. 101

Fig.109

Fig.112

Fig.110

Fig.111

Fig.113

102

Fig.114

Fig.115

These are examples of the technique

The posters above arenâ&#x20AC;&#x2122;t meant to

that was used for The Master cover

produce a 3D effect but I think they

(left).

still look good. I could just use

text

The

images

that

only

use

without glasses look a little

chaotic

(which

something

the

colours

and

the

offset

style

which looks interesting on its own.

consider as I will be mainly using the 3D effect for text). 103

L G MADE YOU LOOK Stefan Sagmeister

104

Fig.117

Fig.118

Fig.116

I found this book in the library, by Stephan Sagmiester. The front cover features a 3D anaglyph. Itâ&#x20AC;&#x2122;s made up of different images of a dog; one

Fig.119

without looking through the glasses,

I liked how the 3D has been on the

one looking through with both lenses

blurb (Fig.119). Through each lens

(Fig.116), another image through red

you

lens (Fig.117) and one through cyan

Without the glasses it doesnâ&#x20AC;&#x2122;t make

lens (Fig.118).

sense to read each line. 105

see

the

separate

paragraphs.

106 Fig.120

Fig.121

found

there

are

three

ways

could incorporate this 3D anaglyph element.

Either

creating

two

Fig.122

colours

associated

with

(cyan

different images or text that will

and red). And the composition which

show through either the red or cyan

is this shifted, offset effect. Or

lens, like the front cover for Little

lastly, create an image that makes

White Lies issue 44 or Sagmeisters

the

‘Made you Look’. Or I could use the

coming off of the page.

107

text/image

appear

it’s

YO LAYOUT DESIGN

108

OUT 109

DE Fig.123

110

ESI I

found

these

magazines

called

Illustrators in the library which contains

variety

illustrations

and

different

stories

about

illustrators and their work. I had a

look through them to see if I could get some inspiration for my book. I

how

some

pages

were

just

one image with a full bleed. These magazines are very visual as theyâ&#x20AC;&#x2122;re about illustration so the images are the

majority.

The

pieces

text

are placed quite randomly and they didnâ&#x20AC;&#x2122;t seem to have a strict grid system throughout the issues. 111

112

I created some different 3D front covers ideas for my book (no.1-6). They worked really well on the laptop screen but when I tested the printed quality I realised that cyan doesn’t print because the screen uses light. So when I tested the printed version it wasn’t anywhere near as good as the digital. So instead I designed some covers (7-9) that used the same idea as The Master issue. Still using blue and red, but I changed the colour to shades that would print well and can be seen clearly through the glasses. You can see two different pieces of text through each lens. Cover idea number 9 is my favourite because it matches the rest of my book better than the others. Through the blue lens you can see some of the topics covered in the book and through the red lens is the title of the book ‘What is Research?’. 113

COLO COLOUR PALETTE

114

OUR These are the colours that I used in my process book. I only used three colours; red, blue and black. But I could change the opacity to make a different tone. Red (C:0, M:94, Y:79, K:0)

The blue and red colours I chose can

Black (C:60, M:50, Y:50, K:100)

be multiplied to create a new colour

Blue (C:71, M:13, Y:0, K:0

too. 115

LAYOUT TYPE IDEAS

116

A brief history of my specialist research area.

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A brief history of my specialist research area.

ditatium lam, comnihitius, tem ium con parum quunditiam ut aut ex et re venihic aboraerum, id ut qui atur, ut venditem quat rectem consecum erspe ditet accumen iendantum, od que corectibea cum ipsam.

Dollam, tem quis nulpa nobis prae ra duntionsedic te periam aut eatur as et enimus ipidese quatior eicilique reperciis eniendam, acepe volenis eumque nis volore, cullo quostinisto modisci digenis et et et dit, inveligentem ut autem abor sundusa nditat ratur aut etus a volupta tibusdantem quae preni con plaborrum fugias qui ommolor eprehendi cullessin cuptintem nonsequid magnisquia comnient eris sam eate volupidenis aute officimint illoreperiam voloriae deri ditatium lam, comnihitius, tem ium con parum quunditiam ut aut ex et re venihic aboraerum, id ut qui atur, ut venditem quat rectem consecum erspe ditet accumen iendantum, od que corectibea cum ipsam.

A brief history of my specialist research area.

EDI EDIto rial cuptintem nonsequid magnisquia comnient eris sam eate volupidenis aute officimint illoreperiam voloriae deri ditatium lam, comnihitius, tem ium con parum quunditiam ut aut ex et re venihic aboraerum, id ut Dollam, tem quis nulpa nobis prae ra duntionsedic qui atur, ut venditem quat rectem consecum erspe te periam aut eatur as et enimus ipidese quatior ditet accumen iendantum, od que corectibea cum eicilique reperciis eniendam, acepe volenis eumque nis ipsam. volore, cullo quostinisto modisci digenis et et et dit, inveligentem ut autem abor sundusa nditat ratur aut etus a volupta tibusdantem quae preni con plaborrum fugias qui ommolor eprehendi cullessin

Design 117

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s endio eum

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errovid que

ptat. nimpore, ero totas latistore e nim et tustibero uptatur?

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research

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specialist

Editorial Editorial Design brief

history

design

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Ecaes est, sam re excepudis autem fugit, quodianis quam re que nobiste serepuda venim laut earuptas dicatem quassumquam quam non porpore quaeperae et plite conseri orernat isquiae. Ut acea nitium fugit aci ullestis am et alibustis endio eum reius qui quam, optae voleniet vit libus dit quia volorum fugiae Dollam, tem quis dolorum volum nulpa nobis prae facide nonsequod ra duntionsedic te periam aut eatur as errovid que et enimus ipidese voluptatem. quatior eicilique Et reperciisdolorestem eniendam, vendia acepe volenis eumque es nate occuptat. nis S e d i ccullo totatem volore, quostinisto modisci corro bercips digenis et et et a m einveligentem n i m p o r ut e , dit, autem abor sundusa nditat ratur aut etus a volupta tibusdantem quae preni con plaborrum fugias qui ommolor eprehendi cullessin cuptintem

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SIGN

A brief history research area.

specialist

scimaximaio blatistore niet dis idi re simoluptatam quae nim et lab intio. Nam, sam volupitiae eatustibero dolor simusam, qui omnime moluptatur? Obis moditae ex etus nobit reperisciis pro cum venda quisto cullit, oﬃc tessimilit volorporro idebis atiur sum, ut mo odit volori commolu ptatis pos suntiis invenite nonsecu ptionse ditiiss itatque volupta epelit occum velibuscit volorio quae rent recat qui net litecae sequi omnissi assi adit quia

118

Editorial Ecaes est,

sam

excepudis autem fugit, quodianis quam re que nobiste serepuda venim laut earuptas dicatem quassumquam quam non porpore

eate volupidenis aute officimint illoreperiam voloriae

nitium fugit aci ullestis am et alibustis endio eum reius

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deri ditatium lam, comnihitius, tem ium con parum

Editorial dolorum volum facide nonsequod errovid que voluptatem.

quunditiam ut aut ex et re venihic aboraerum, id ut Dollam, tem quis nulpa nobis prae ra duntionsedic qui atur, ut venditem quat rectem consecum erspe ditet te periam aut eatur as et enimus ipidese quatior accumen iendantum, od que corectibea cum ipsam. eicilique reperciis eniendam, acepe volenis eumque

A brief history of my specialist research area.

vendia

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amenimpore,

EDITOR IAL

Cuptintem nonsequid magnisquia comnient eris sam

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nis volore, cullo quostinisto modisci digenis et et

venduci

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design

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Cuptintem nonsequid magnisquia comnient eris sam A brief history of my specialist research eate volupidenis aute officimint illoreperiam voloriae

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A brief history of my specialist research area.

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EDITORIAL DEDE SIGN

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design

119

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120

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EDITORIAL DESIGN

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A brief history of my specialist research area.

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invenite

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Editorial

vendia

dolorestem es nate occuptat. Sedictotatem

A brief history of my specialist research area.

Design

quia

A brief history of my specialist research area.

121

design

LA Fig.124

Fig.125

122

AYO We did a group pin up of all our

For no.15 I wrapped the text around

layout

two circles so that it created this

and

Fig.124,

type

125).

experiments

This

helped

(see

wave style indentation.

see many of the different possible variations of page composition and

The overlapping text works really

typefaces that could work together.

well

Many layouts consisted of overlapping

legible. It makes the page look a

type and many consisted of big and

lot more interesting (no.3, 10).

long

the

words

are

bold titles which dominated most of The typefaces, Bungee and Monoton,

the page.

used for no.9 and are my favourite There are a few aspects of my type

fonts.

really

and layout experiments that I really

boldness

like:

with smaller lightweight sans serif

and

how

like it

Bungeeâ&#x20AC;&#x2122;s

works

well

fonts. But I also like the fun and I like the composition of text on

experimental style of Monoton and I

no.5 and as it has an unconventional

think the lines that make up this

layout for the body of text. For

font have a lot of potential (making

this, I have rotated parts of the

them bigger or bolder etc).

text and changed the weight of some to make it more visually interesting. 123

Monoton

ABCDEFGHI JKLMNOPQR STUVWXYZa bcdefghijk lmnopqrst uvwxyz.?& !1234567890 124

Letter Gothic Std

A I Q Y g o x 2

B J R Z h p y 3

C D E F K L M N S T U V a b c d i j k l q r s t u z . ? & 4 5 6 7 8 125

G O W e m v ! 9

H P X f n w 1 0

LAYO Fig.126

Fig.127

126

Fig.128

YOUT I went to the library and looked for similar fonts to Monoton to see how they work on different layouts (page left). I quite like the ‘Futebol’ book

(Fig.128)

which

uses

this

Monoton style font with a sans serif subheading font. As opposed to the black and white ‘Complete Editorial Unit’ (Fig.127) which uses a serif font, I don’t like this combination as much. 127

O O

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HEADING Subheading Mi,

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elenienimus

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128

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The two fonts I’ve chosen are Monoton for

headline

font

and

Letter

Gothic Std for the subheadings and body text. I chose Monoton because in Little White Lies they use very experimental fonts for their headings. I think Monoton is fun and experimental and has lots of potential as I can use the graphic elements of the characters; the lines/stripes. I also chose Letter Gothic Std because it works with the heading font from my layout and font experiments. It also looks similar to the font used in The Master issue in Little White Lies. I’ve using

made the

some

two

fonts

compositions to

see

how

they may work together (page left). I’ve used the letter ‘O’ as a large graphic

element/background

the text.

And overlapped it with

text which works well. 129

behind

LAYO Fig.132

Fig.129

Fig.130

Fig.131

Fig.133

130

Fig.134

OUT Fig.135

This is the grid system that I am using (Fig.135).

I decided that I want to make my book a square shape as itâ&#x20AC;&#x2122;s different to the other books I have made before. I

made

mood

board

existing

square books (page left) to see how they work with content. I really like the overall appearance (especially Fig.129 and its use of two colours). I also like the two column grid that they use. The negative space looks nice in this format too with just a bit of text on each page. I wanted to add something more so that it was a little more interesting to look at though. 131

U O 132

started

experimenting

with

paragraph styles to see what works in my book. I chose a small square format from Blurb as this is different from what I’ve done before. Knowing this I was able to start designing with a format in mind. I used circular paragraphs at first but I didn’t like how it looked when I had a lot of text; as I’d have to use more than one circle on a page which didn’t look right. I also tried overlapping two paragraphs but still didn’t like how it looked. I decided on a normal paragraph with the text justified to fit both sides of the text box which looks good with the square format. As I want my design to be influenced by The Master issue of Little White Lies magazine I then deiced on a red and cyan (3D colours) theme. I tried a few different ways to incorporate this but the black highlight and red and cyan text works best. 133

E 134

EXP I incorporated arrows into my layouts just as another graphic

element but

I ended up taking them out because it didnâ&#x20AC;&#x2122;t add anything to the design. Also,

after

changed

the

black

arrow to red and blue it detracted from the more important information as the eye was drawn to this first. 135

136

LA The left hand page of my process book is used as a title page for each section. Iâ&#x20AC;&#x2122;ve used the font Monoton. I also added a strip of black to one side of the page so there isnâ&#x20AC;&#x2122;t so much white. And it also makes the title more interesting as itâ&#x20AC;&#x2122;s inverted. I

also

used

this

same

font

but

dramatically enlarged as a graphic element/background on the spreads. They were a different colour on each page but to keep with my 3D theme I changed them to blue or red or black. 137

N E M Fig.136

138

S T N Fig.80,81,82,83

I created another small feature in the

book inspired by the illustrations next to the page numbers in Little white lies magazine and a book called ‘Aliens’. In this book (Fig.136) is a small illustration down one side of all the pages which act as flip book.

When

the

pages

are

flicked

through the illustrations appear to be moving. I took these ideas and made a magnifying glass representing research, when the book is flicked through the illustration appears to be moving back and forth and left to right as if someone was ‘searching’ (seen in the bottom right of book). 139

A 140 Fig.137

AYO During

the

design

process

did

another pin up of our final layout ideas (Fig.137). It was good to see other

peoples

layouts

compare

against my own.

I set myself some rules throughout the design process to make it easier to input my content and to help with consistency, which were: -Large image left spread -Smaller images and text right spread -Text on the bottom of page, image top -Background text top/bottom angled -Title

section

(font

size

23)

left spread centred middle left -Highlighted text red, blue, red, blue order -Subheading (font size 15) -If one image on left page - full bleed -If more than one image left page place within margins -Photographs of pin ups etc in 3D 141

142 Fig.138

1.Have the page layouts been explored

1.I’ve tried different compositions,

over

experimenting

range

different

design

with

rotation,

options?

overlapping, text size etc.

2.Indicate which layouts are most

2.The layout with the overlapping

successful - and briefly describe

text looks quite striking, it’s the

what works?

most interesting iteration. “Good

layout.

Interesting

and

engaging” (post-it-note) 3.Is the layout utilising a visible

3.I used a 6 column grid. Text uses

grid system (consistent alignment)

3 of them and images are more free.

4.Is the composition/visual hierarchy

4.The title is much larger and more

well balanced and visually engaging?

of a ‘fun’ font than the other text. Images are the majority, some pages just have images so it’s more visual.

5.Have the following been explored:

5. I enlarged my typeface Monoton to

scale, contrast, positive neg space

use as a background element. There

etc?

is also a lot of white space around it to make it stand out more.

6.How many typefaces have been used,

6.Two, Monoton for the headings and

and can you name them?

Letter Gothic Std for body text.

7.Does the typographic hierarchy lead

7.As we read from left to right, the

the viewer through the information

title’s placed on the left page and

clearly?

the body text on the right. Also images go above the text so the viewer knows what is being discussed.

8.What

elements

development and why?

need

further

8.The composition and placement of elements as it looks a little messy.

143

first hand knowledge from a current

EVALUATION

practitioner (Carl Rush from Creative Crush) who showed us how he researches and some of the projects that they’ve

I’m very happy with the outcome of my

worked on. I learnt that in order to

process book and I found the research

create a good outcome you need to fully

and

understand the topic. This is why once

design

process

very

helpful the

I found an agency that I wanted to

magazines that have more of a focus

focus on, Little White Lies magazine,

on art like VNA magazine. I wanted

I deconstructed it as much as I could

to focus on Little White Lies because

in order to find out as much as I

it’s a really interesting magazine,

could about it. This would eventually

both visually and textually. It always

influence my book design too. I found

has unique and engaging layout and type

that research lead to more research

designs

illustrations

which lead to more until I had the most

but it also focusses on films which I

that I could or that was relevant.

enjoy too. I think I got quite a lot

For

of information from the research that

White Lies lead me to find out about a

I carried out, not just from internet

particular issue that would be the main

sources but from printed sources too.

influence of my book design; this was

I had access to most Little White Lies

the 3D anaglyphic issue (The Master)

issues online but I also had the actual

this in turn lead me to more research

magazine too; there is definitely a

about 3D anaglyphs. Additionally one

different feel to the printed copy than

of the most helpful bits of primary

just looking and reading them online.

research was the pin ups because we

and

informative.

and

also

really

fun

example,

research

Little

were able to get feedback and see what I also found it very helpful to get

other

144

people

are

doing

which

could

inspire ideas.

Wim

Crouwel;

one

practitioners

I’d

the

historical

researched

prior,

I found the research really enjoyable,

probably a choice that was influenced

which I was dubious about at first

by research they’d carried out.

especially with the secondary research, some of the historical practitioners

Although I’m happy with the design of

very

my book I wasn’t too happy about the

interesting. I found it helps to have

price of printing but I didn’t want

interest in what you are researching.

this to affect the amount of work that

This is why I have a lot more research

I did. It wasn’t helped by my layout;

on Little White Lies than most other

because I chose a small square format

things and because it had a lot of

it meant that I couldn’t really put as

different content. I chose historical

much information as I would have on a

practitioners

might

rectangular format so I had to spread

be interesting to me but also that

out my content a bit more which meant

related to my subject area. But you

more pages and the more expensive it

can’t know without looking up their

got.

work (researching) so as I wasn’t sure

when the first 3D idea I wanted to

at first, once I’d started researching

do didn’t work. My title didn’t look

I always found something that I thought

3D coming off the page which was a

was interesting. I didn’t know much

little disheartening as I spent quite

about Saul Bass before this project

a while trying to find out how do this

but from my research I was able to

properly.

create

particular

own

but

that

poster

was

all

thought

his

Another

But

hindrance

happy

faced

with

was

the

style

end result as it’s more fitting with

which I really enjoyed. Also when I was

the The Master issue by which I was

looking into Little White Lies I found

influenced.

that they’d used the font designed by

145

LIST OF ILLUSTRATIONS Fig.2 Original 1940s German Design Poster AICHER Art Marxism. (n.d.). [image] Available at: https://new.liveauctioneers.com/ item/25631001_original-1940s-germandesign-poster-aicher-art-marxism [Accessed 11 Feb. 2017]. Fig.3 Otl Aicher VHS-Ulm NachdruckPlakat. (n.d.). [image] Available at: http://k-034-Design-Grafik-OlympiaHfG-/121234394235 [Accessed 10 Feb. 2017]. Fig.4 Rathgeb, M. and Aicher, O. (2008). Otl Aicher. 1st ed. London [u.a.]: Phaidon. Fig.5 Archery - Olympic archery pictograms through the ages - The Infinite Curve. (2014). [image] Available at: http://www. theinfinitecurve.com/archery/olympicarchery-pictograms-through-the-ages/ [Accessed 9 Feb. 2017]. Fig.6 Otl Aicherâ&#x20AC;&#x2122;s pictograms. (2017). [image] Available at: https://uk.pinterest.com/ pin/469852173603568394/ [Accessed 12 Feb. 2017]. Fig.7 Otl Aicher. (n.d.). [image] Available at: http://www.historygraphicdesign. com/the-age-of-information/the-

international-typographic-style/172otl-aicher [Accessed 11 Feb. 2017]. Fig.8,9 Saul Bass Poster. (n.d.). [image] Available at: http://www.saulbassposterarchive. com/gallery/film-posters/ [Accessed 20 Feb. 2017]. Fig.11 Aulier, D. and Scorese, M. (2001). Vertigo. 1st ed. New York: Griffin. Fig.13 Crouwelâ&#x20AC;&#x2122;s 1957 poster for a Leger exhibition. (2011). [image] Available at: https://www.theguardian.com/ artanddesign/2011/apr/07/wim-crouweldesign-museum-typography [Accessed 2 Feb. 2017]. Fig.14,15 https://www.creativereview.co.uk/ striking-the-eye-an-interview-with-wimcrouwel/ Fig.16-21 TED Talks, (2012). Chip Kidd: Designing books is no laughing matter. OK, it is.. [image] Available at: https:// www.ted.com/talks/chip_kidd_designing_ books_is_no_laughing_matter_ok_it_ is?language=en#t-449035 [Accessed 1 Feb. 2017]. Fig.25-27 Crush Creative, (2017). GREENPEACE - SAVE THE ARCTIC. [image] Available at: http:// crushed.co.uk/work/greenpeace-save-thearctic/ [Accessed 15 Feb. 2017]. Fig.28 Savethearctic.org. (n.d.). Save The Arctic. [online] Available at: https://www.savethearctic.org/en-GB/ peoplevsarcticoil/ [Accessed 15 Feb. 2017]. Fig.29-39 Humanafterall.co.uk. (n.d.). Greenpeace Just Tuna By Human After All Creative Agency. [online] Available at: http://

146

www.humanafterall.co.uk/work/projects/ greenpeace-just-tuna-campaign/ [Accessed 9 Feb. 2017]. Fig.40,49 http://www.humanafterall.co.uk/made-byus/projects/weapons-of-reason-issue-3ageing/ Fig.50-54,83 Attack the Block. (2011). Little White Lies, [online] (34). Available at: https://issuu.com/lwlies/docs/lwlies34 [Accessed 7 Mar. 2017]. Fig.55-61,80,84 Star Trek. (2009). Little White Lies, [online] (23). Available at: https:// issuu.com/lwlies/docs/lwlies23 [Accessed 9 Mar. 2017]. Fig.62-65,82 Lawless. (2012). Little White Lies, [online] (42). Available at: https:// issuu.com/lwlies/docs/lwlies42 [Accessed 10 Mar. 2017]. Fig.66-69 Woodcutting a magazine - Little White Lies 42: The Lawless Issue. (2014). [video] Available at: https://vimeo. com/76600559 [Accessed 13 Mar. 2017]. Fig.70 https://www.instagram.com Fig.71 Rogue One. (2016). Little White Lies, [online] (67). Available at: http:// lwlies.com/back-issues/rogue-one/ [Accessed 11 Mar. 2017]. Fig.72-75,101,103-108 The master. (2012). Little White Lies, [online] (44). Available at: https:// issuu.com/lwlies/docs/lwlies44/7 [Accessed 12 Mar. 2017]. Fig.76-79 Eggertsson, S. (n.d.). [image] Available at: http://www.siggieggertsson.com [Accessed 20 Mar. 2017]. Fig.81

Carlos. (2010). Little White Lies, [online] (31). Available at: https:// issuu.com/lwlies/docs/lwlies31 [Accessed 18 Mar. 2017]. Fig.85-93 Smits, T. (n.d.). Work. [online] Timba Smits. Available at: http://timbasmits. com [Accessed 23 Mar. 2017]. Fig.97 Instagram.com. (n.d.). Little White Lies (@lwlies) â&#x20AC;˘ Instagram photos and videos. [online] Available at: https://www. instagram.com/lwlies/ [Accessed 17 Mar. 2017]. Fig.98 Little White Lies. (n.d.). Little White Lies - Movie Reviews and Articles. [online] Available at: http://lwlies.com [Accessed 11 Feb. 2017]. Fig.99,100 Little White Lies. (n.d.). Little White Lies Weekly. [online] Available at: http://weekly.lwlies.com [Accessed 19 Mar. 2017]. Fig.109-115,120-122,129-134 Pinterest. (n.d.). [online] Available at: https://uk.pinterest.com [Accessed 17 Mar. 2017]. Fig.123 Anon, (2016). Illustrator, (13). Anon, (2016). Illustrators, (15). Fig.116-119 Sagmeister, S. and Hall, P. (2009). Sagmeister. 1st ed. New York: Abrams. Fig.128 PuneDesign. (n.d.). Square Book MockUp - PuneDesign. [online] Available at: http://www.pune-design.com/portfolios/ square-book-mockup-freebie/ [Accessed 15 Apr. 2017]. Fig.136 Aliens. (2016). 1st ed. London: Profile Books Ltd.

147

BIBLIOGRAPHY COLES, S. (2007). Saul Bass Website and “Hitchcock” Font Are Back. [online] Typographica. Available at: http://typographica.org/ontypography/saul-bass-website-and-hitchcockfont-are-back/ [Accessed 6 Mar. 2017]. Quoteinvestigator.com. (n.d.). Research Is to See What Everybody Else Has Seen and Think What Nobody Has Thought | Quote Investigator. [online] Available at: http:// quoteinvestigator.com/2015/07/04/seen/ [Accessed 5 Feb. 2017]. Flask, D. (n.d.). Editorial Design : Design Is History. [online] Designishistory.com. Available at: http://www.designishistory.com/ design/editorial-design/ [Accessed 10 Feb. 2017]. Busche, L. (2015). 50 Incredible Editorial Designs From Around The World. [online] Design School. Available at: https://designschool. canva.com/blog/editorial-design/ [Accessed 8 Mar. 2017]. Kortunuv, D. (2010). The graphics style of the 1972 Munich Olympics - Turbomilk. [online] Turbomilk.com. Available at: http://turbomilk. com/blog/cookbook/reviews/munich-olympics/ [Accessed 7 Mar. 2017]. Work.chron.com. (n.d.). Editorial Design Career Description. [online] Available at: http://work.chron.com/editorial-designcareer-description-18153.html [Accessed 23 Feb. 2017].

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