Curate create created Laurana PERPEPAJ
ABOUT ME I’m a Graphic Designer who also loves fine art. I prefer to apply as many skills as I can into every piece of work I produce. I collaborate with other creatives that have different abilities to strengthen the outcomes of the work and broadens initial ideas and development. Design is visible thinking.
ABOUT THE MODULE This module is intended to enable designers to gain experience and understanding of working practices within the creative industries. Through working on projects that reflect realworld situations, you will consolidate both disciplinary and creative skills, develop professional confidence and navigate individual and collaborative approaches to working. Projects will provide the opportunity to explore in-depth professional ways of working, encouraging students to foster creative imagination and critical judgement, and to develop individual and team-working skills to real-world problems and opportunities. The module is driven by workplace goals, objectives and constraints in order to develop, test and extend knowledge and understanding of professional practice and employability. Particular emphasis is placed upon the completion of agreed practice-based outcomes to a
professional standard within agreed timescales, promoting confidence in communication skills, including visual and verbal presentation methods. Professional ethics, social enterprise and entrepreneurial strategies will be explored, debated, and applied to produce creative solutions. This module develops your ‘learning for work’. Within the module, you will gather work-related experience through live or simulated projects. You will gather employment transferable skills, desirable and advantageous for employment. You will foster your ability to develop and present your creative ideas to a professional client relevant (or adjacent) to your overall practice/ employment intentions.
'THE SPACE BETWEEN THE LeTTERS CREATES THE MEANING OF THE WORD,
MORE SO THEN THE WORD ITSELF' Massimo Vignelli
STUDIO PROJECTS Loving the alien My first animation was exploring the idea of abduction, the fear of the “unknown” taking the abducted to an “unknown” place. The animation focused on the worldwide issue of child abduction. It also played on the fact that some missing child cases have so much media coverage and other are simply disregarded. I decided to play with the idea of giving humor to an issue that is so serious and traumatic for the children that are abducted and the families that are left behind. I used the idea of alien abduction to create the characters and add a sense of humor.
The conversation between the aliens that are going to abduct the child opens the animation with a humoristic approach. The conversation appears as it is spoken so the audience is reading along which aids viewer interaction. The entire animation does not necessarily show direct footage of the child being abducted, but with the help of sound and the viewer’s imagination they can independently come to a conclusion as to what is happening. The entire animation is down to individual understanding and interpretation. This links to my studio theme “You and the Other�.
I have used direct links to the stereotypical idea of an alien abduction with the beaming yellow light and the illustrated aliens but the meaning behind the humor only scratched the surface of an ongoing issue that is extreme active in our society. I chose to make the main character in the animation a boy around the age of 10. I have found that most of the missing child cases that get fullblown media coverage are young girls aged between 3-7. There is an instant upsetting atmosphere created when a young girls goes missing compared to a boy, this does not however make the cases any more important that the other.
My second animation had a similar story line to the first. abduction has played a key role and focus point of both the animations. the life like characters create engagement with the viewer and allows them to emotionally connect with each other. The silhouettes take away any identity that the characters have so the viewers imagination can create the characters.
The level of imaginary interaction with the viewers leaves them in suspense. It plays on real life situations and shows a very brief overview of the effects and implications that and abduction can have on a family.
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I created a font to suit the concept of Alienation. Gruesome fictional alien creatures inspired the creation of all the letters. These were used to close the animation and bring the short story to an end.
'working with people that have a variety of skillsets and qualities helps give originality to the work' Kate MOross
Under the influence case study Research William Morris was an English textiles designer born in 1834. he has created the designs for many beautiful pieces of furniture as well as accessories such as curtains, blinds, pillows, bedding and many more. he used beautiful, bright and vibrant colours in his designs. Morris was very fond of natural forms such as flowers and plants. This is evident in all his work. The natural forms are so delicately detailed and beautifully drawn.
DEVELopMENT William Morris uses the manipulation of the natural forms to create, join and replicate designs. All the curves of the flowers and the leaves allow the patterns to be easily linked together and repeated. The curved lines allow the viewers eye to moves across the entire pattern and not focus on a particular section. I love the use of gradient line and the simplicity of some of the forms. There are many different ways of repeating an image that I have explored. Each gives a unique and very different outcome.
OUTCOME
My hand drawn pattern digitally captured at different stages from beginning to end.
The final outcome is a hand drawn pattern that can be multiplied to form a pattern on a much larger scale.
NEspresso case study Research I started off by looking at several different venues that we could potentially hold the event. I had to find the one that best expressed the essence of Cuba. In order to create a realistic depiction of Cuba I had to research further than coffee. I had to take into consideration interior and exterior design that is used in Cube, the coffee, Cuban cigars, colours, weather, places, drinks and beverages, music, art and many more. These were incorporated into the five senses; taste, touch, smell, sight and hearing. By creating and environment the guests to interact with the essence of Cuba through the many things that will be available at the event, they will gain a better understand of the product as well as the history of its origins.
DEVELopMENT On the enterance into the venue, the guests will have access to the Cuban market where they will be able to purchase products that have been imported from Cuba. They will then be guided to the first floor where there will be served coffee and a live band will be playing. Demonstration on how to use the Nespresso machines will be acessable to view.W The guests will then be escorted to the top floor of the warehouse and seated in car style seats to watch a presentation explaining the journey and origins of the Cubana coffee. When the presentation is complete, the guests will be escorted home and free Nespresso machines with thirty Cubana capsules will be posted to their address the following day.
OUTCOME
The planning and layout of the warehouse was designed and the interior decoration needs to be fitted for the event.
'social media. power in your hands' sophia chang
CCS case study
do war photographs support Porngraphy of suffering?
Photograph 1, was taken by Paul Hansen on the 19th January 2010 at approximately 4pm. This photograph has captured the devastating moments directly after the death of 15- year-old Fabinne Cherisma. She was shot and killed by police, for stealing two plastic chairs and three framed pictures. Her body lay lifelessly on the ground with her arms still wrapped around the objects that she was holding on to before she was executed. Her face and head rest on the hard and dirty ground in a puddle of blood. You can see two male figure in the background that are trying to clear the rubble of what looks like a collapsed building, however they seem to ignore the dead body that’s is lying on the ground before them. This suggests that the idea of war and death has become so common and frequent to people in the part of the world that even the death of an innocent child doesn’t affect them. All four photographs question the ethical morals of our Photographers and whether they are crossing the line with the images they are capturing and their publication. Their detachment is clearly visible in their ability to casually check their LCD settings while standing a meter away from a young innocent child that has just been stripped of their childhood. Although the photographers courage and hard work has to be admired, I also believe they do not consider the feeling of the family she has left behind. The publication of this image will forever be a reminder of their child’s death. Photo manipulation and photograph staging has become very popular amongst photographers, although, I believe, some may be taking it too far and almost staging the photographs. We are all aware of Photoshop and the technical adjustment and manipulations that can be made using this program. This is evident in both photograph 1, where Fabinne’s body was moved for the purpose of the photograph, and photograph 3, where photographer Kevin Carter waited twenty minutes for the vulture to open its wings and attack the defenseless child before he realized the bird may not move so he captured the image and shoed the bird away. Many different organizations and charities are desperately trying to make their cause more known and public so they are almost competing with one another to signify their importance and essentially acquire they funding they need to help their organization. As more and more organizations are developing and growing, an increasing competitive market is developing, thus the need to use fare more explicit and extreme photographs to promote and stress the importance donations can make. In conclusion, I believe we have several dilemmas. Should we, as graphic designers and communicators, allow ourselves to be emotionally detached from our work, or should we consider our feeling as well as he feeling of those who we are involving in our work? I believe, when working in this particular field, where you have to capture death and destruction in its purest form, that emotional detachment is essential. When you become emotionally attached to a scene of person it begins to affect the outcome. However, I strongly disagree with the staging of photographs and photo manipulation. This essentially makes the photograph a lie. It alters the event and can mislead the viewer.