MAB Portfolio

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C R E AT I V E PRACTICE

PORT FOLIO

MÓNICA ARROYO BEREZOWSKY K1823744

CONTENT

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TA R G E T M A R K E T

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PROCESS

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A LT E R E G O

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O B S E R V AT I O N

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EXHIBITION

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WORD

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S TA R T I N G P O I N T

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You cannot hold a design in your hand. It is not a thing.

It is a process. A system. A way of thinking.

-Bob Gill

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TA R G E T M A R K E T As designers and illustrators, we produce work for a specific audience. We create functional designs that serve a purpose. Knowing, and understanding, the target audience allows us to fulfill the objective and the final outcome to be successful.

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RESEARCH

Objective: Identify a clear target market and create a design product that explicitly responds to that audience.

Target audience selected: “Foodies” “A foodie is a person who has an arden or refined interest in food and who eats food not out of hunger but due to their interest or hobby.” (Kugel, 2017)

Image 1: Sketchbook

Image 2: Sketchbook

Image 3: Sketchbook

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Image 4: Cheese

TA R G E T P R O F I L E Name: Cheese Foodie Generation: Millennial Age: 24 - 35 years old Nationality: British (and/or European) Description: Young, active person. Eating and drinking are complete experiences. Is active on social media and follows foodie influencers. Enjoys buying things that are creative and different. Is eager for adventure and in constant search of events and festivals.

Image 4: Sketchbook

Kugel, Alison (2017). “How Food Porn Posted on Social Media Has Become an Industry�. Entrepreneur. Retrieved 2018, 09 Image 4: Licence Image.

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I D E AT I O N

Proposal No. 1: European Map of Cheese

Image 7: World Trade by Paula Scher

Image 5: Sketchbook

For the first proposal, the work of artists like Paula Scher, Stuart Hill and Armel Caron were evaluated, their synthesized proposition of large spaces and abstract representation.

Image 6: Sketchbook

Image 8: Montpellier by Armelle Caron

Image 9: Buffalo Map by Stuart Hill

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Proposal No. 2: “Make your Own Cheese” Kit

“Millennials have already been called the foodie generation and have been labeled as “food obsessed” taking their food experience well beyond the eating of it.

For them, food should be a full-fledged adventure from start to finish...” (Pinkser, 2015)

The second proposal consisted on creating a “Make your own cheese kit” which highlighted the DIY and experience factors of the millennial generation.

Videos and recipes were consulted to create a complete bundle proposal.

Colour palette was inspired by the use of color and sympetry of director Wes Anderson.

Image 10: Sketchbook

Image 7: Scher, P. (2018, May 21). World Trade [Acrylic on canvas, 92 x 157 inches.]. Retrieved September, 2018, from http://signsjournal.org/paula-scherworld-trade-2010/ Image 8: Caron, A. (2011, December 7). Montpellier [Map Print]. Retrieved September, 2018, from https://glimpsejournal.wordpress.com/2011/12/07/ montpellier-armelle-caron/ Image 9: Hill, S. (2017). Buffalo Map [Digital image]. Retrieved September/ October, 2018, from https://stuarthillustration.com/buffalo-map

Image 11: Moodboard - Sketchbook

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RESOLUTION Feedback received during the interim critique session suggests that extra material should accompany the map, like a site checklist and an information brochure. An opportunity for improvement would be to contact the local cheese sellers to include in the map.

Image 12: Decision & Feedback - Sketchbook

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Proposal No. 1: Development A vector illustrated map that shows the best cheeses around Europe. Call of action strategy that invites the users to visit all the locations creating a unique experience.

Image 13: Primary development process Adobe Illustrator

Image 14: Secondary development process Adobe Photoshop

Image 15: Close-up of editing process and title design

Image 16: Close-up of icon-like illustration

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CRITICAL REFLECTION The objective was to understand that, as creatives, we create work for others.

Research is key in defining a target audience and developing something appealing to a specific market. I am most confortable working with children but it is more challenging to step out of our confort zone and have a more focused research.

I chose “Cheese Foodies�. A group that belongs to the millennial generation and is centered around unforgettable experiences. I found it challenging to come up with proposals that were more than just an illustrational suggestion. However, I had the opportunity to surround myself by their environment at the London Cheese Crawl. It made me understand that the cheese love is just an excuse to have fun with friends.

Out of the two proposals, I chose to develop the Road Trip Cheesie Map, and even though it was something I had never done before, I am content with the final outcome. I learnt that every design has weaknesses and strengths and having feedback from the group helped me see that, for this map to truly work, it would have to be accompanied by supporting material. The opportunity I see to develop this project further would be to make it a bundle, a packaged experience following the same visual identity that goes beyond the map by itself.

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PROCESS “Design is an interactive process and design thinking is present in each stage of the journey from client brief to finished work. Different solutions can be produced for any given brief and these can differ widely in levels of creativity, practicality and budget.� (Ambrose & Harris, 2010)

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RESEARCH Bibliography cosulted at this stage:

The success of any work, both creative and non-creative, relies on the understanding of one’s process. The first part of the research was understanding all the steps I take, as a designer and illustrator, to produce successful work.

Ambrose, G., Harris, P., & Del, M. C. (2015). Metodología del diseño. Badalona, España: Parramón Paidotribo.

Dubberly, H. (2005 ) How do you design? A compendium of models. [online] http://www.dubberly. com/articles/how-do-you-design.html

Key words: Right Question, Ideas, Stages, Professional, Creative, Fuel, Research, Feedback, Analysis, Generate

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Concept: My design process is complex and very methodical. It is an active system that can move in different directions and, often, has to take a few steps backwards to appreciate the big picture.

With that in mind, I designed an unfold-able object that represents every stage of the process in a clear and dynamic way.

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Step 1: Everything is developed by the mind - intellect

Step 2: Defining the problem

Step 3 (Up): Setting the objective

Step 4 (up): Asking the correct questions and defining the brief

Step 5 (Up): Define the design direction and the purpose

Step 6 (up): Primary research and sketching

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Step 8 (right): Making the right decisions and defining the target audience

Step 7 (right): Research overview and context

Step 9 (right): Making the right decisions, going outside in search for inspiration

Step 10 (down): Ideate

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Step 12 (down): Getting inspiration outside our confort zone. Asking ourselves: is this working?

Step 11 (down): Defining the design direction, searching for solutions and creative fuel (coffee)

Step 13 (left): Listening to music and creating a moodboard

Step 14 (left): Sketching primary ideas and getting feedback

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Step 15 (down): Getting feedback and taking decisions on the right path to follow

Step 16 (down-right): Final edditing and /or re-designing

Step 17 (right): Getting feedback on delivery

Step 18 (right): Final touches, delivery and final (client) feedback

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CRITICAL REFLECTION Every creative person follows a productive working structure. I had the opportunity to consult different methods suggested in the reading list, however the one I’ve always found most successful is that of Ambrose and Harris. I believe I’ve chosen the Design Thinking process because it is compatible with my complex, obsessive and perfectionist personality.

After creating a mind map of what my complete process was, I wondered if I could represent its complexity and structure well enough. I came up with an unfolding object that represented every stage of the method in a dynamic way.

I made dummies to understand the logic of the movement and then I created a lifesize prototype. I used 300g paper and acrylic paint to project the icon-like illustrations I designed for each step. However it turned out difficult to control this technique, the time it took to dry and the un-perfect lettering. If I were to do it again, I’d choose a different technique such as paper-cut; that way I could control de colours, forms and structure much better. Ironically enough, it is part of the method to learn and re-design if necessary, after all it is a cycle not a one line structure.

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A LT E R E G O As Marcus Cicero described in 1st Century Rome, an alter ego is a second self, a trusted friend.

Numerous personalities have found confort in an alternate character to explore different aspects of themselves, or perhaps to escape their own cultural predispositions.

However, as creatives it is imperative that we become empathetic beings to better understand the likes and necessities of others, more specifically (as studied before) a defined target audience.

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RESEARCH

Research Question (what):

Definition: Alter Ego An alter ego is the part of someone’s personality that is not usually seen by other people (Cambridge University Press, 2018). It is often simplified as a second self, which is believed to be distinct, if not completely opposite, from a person’s normal or true personality.

It was in the 19th century that the term became commonly used to describe a psychiatry diagnosed condition known as: dissociative identity disorder. However, the concept had been used before, in the early 1st century Rome, by Marcus Tullius Cicero who described it as a “second self, a trusted friend” (Weiner, 2003).

If the ultimate truth is that that lies within one’s self, the pure essence of the soul which is defined by he/she who it inhabits; if the pure concept of what constitutes a person is only defined by the person itself, why is it that people choose to create an alternative reality to inhabit?

Preliminary answer (why): People tend to create a second person that is, not necessarily, their complete opposite; someone that is not defined by any particular cultural and time contexts, ergo they are allowed to choose freely and not remain bound to the social and moral rules to which they were born into.

Image 1: Farrokh Bulsara, a shy, introverted and highly self conscious indian man, created his alter ego “Freddy Mercury” in 1973 after the first album Queen was released. It was at this moment that he adopted an outrageous, excessive and extroverted personality.

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Key Words

- Second person

- Context

- Opposite

- Free

- Not defined

- Social & moral

- Cultural

- Born into

Image 2: The Fireman is the experimental music duo of Paul McCartney and Youth, formed in the early 1990s as a way to explore different sounds and musical arguments that were not directly linked to the iconic Beatles sound.

Alter ego mask design exercise

- Irving B. Weiner, Donald K. Freedheim (2003). Handbook of Psychology. John Wiley and Sons. p. 262.

- lenn Daniel Wilson (1991). Psychology and Performing Arts. Taylor & Francis - Connor, Steve (2009). Personality decided at birth, say scientists. NZherald.com. nz, availabe online at: https://www.nzherald.co.nz - Image 1: Sebagio. (2018, May). Freddy Mercury [Digital image]. Retrieved October, 2018, from https://instruccionespara.com/10-frases-de-freddie-mercury/

- Richards, M., & Langthorne, M. (2017). Somebody to love: The life, death and legacy of Freddie Mercury. London: Blink.

- Image 2: U. (2016). Paul McCartney [Digital image]. Retrieved October, 2018, from http://ultimateclassicrock.com/tags/paul-mccartney/page/2/

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I D E AT I O N

CHARACTER PROFILE Name:

Laura Turner

Date of birth:

25 / December/ 1991

Place of birth:

Melbourne, Australia

Parents:

Dr. Ernest Turner (Orthopedic surgeon at the Royal Melbourne Hospital) and Emilie Rose Willson (Kindergarten teacher).

Siblings:

Asheley and Christopher (twins), born 1995.

Ethan, born 1999.

PERSONALITY DESCRIPTION Physics BA, B.S - University of Wollongong Physical Sciences, M.A - La Trobe University PhD (Applied Physics) - RMIT Research Fellow - Monash University

- Loves book - scifi, fantasy & biographies - Metal music - (metallica & Lamb of god) - Hates cooking - likes precooked meals - Hates sports - Plays piano - Incredibly rational / analytic - Likes routine & perfection - Very shy and socially awkward - Fear of failure - Believes in science - Tends to think she’s smarter - Is lonely - Likes having/following rules

Even though Laura Turner is highly obsessed with order and perfection, her obsessive personality has several faults that make, secretly, an extremely messy person. It is a result of her necessity to appear always in control to satisfy the image her parents created of herself in contrast with her fast paced mind that circles ideas / thoughts, and finds relief in metal music.

MESSAGE (CASE STUDY) Matehmatical beauty - aesthetic pleasure.

Is there a logical definition and calculus behind random natural beauty?

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Proposal No. 1: Poster explaining the theory of aesthetic and golden ratio

Visual reference 1: Phi: The Golden Ratio Art by Jazzberry Blue

Proposal No. 2: Poket Notebook (object art) Mathematical explenation of the elementary process of aesthetic.

Visual reference 2: Golden Ratio , Divine Proportion (Phi) Math Poster by Buttered Kat

Group feedback: *To combine the different ideas. Create a messy journal showing Laura’s research and scribbles.

She’s going to give an important presentation (target - PhD professors at University). She carries a pocket notebook where she has all of her study, research, comments and clues of her personal life.

Visual reference 3: Albert Einstein’s poket notebook

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Laura Turner’s Poket Notebook - Content is based on the essay “A New Kind of Aesthetics- The Mathematical Structure of the Aesthetic” by Akihiro Kubota, Hirokazu Hori, Makoto Naruse and Fuminori Akiba.

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CRITICAL REFLECTION Whether it is to escape reality or explore another part of yourself, alter egos serve on purpose: to create a sense of empathy. This exercise required to come up with a whole new personality. It is often difficult for one to understand others, it is something we must practice in order to be successful in our specific field of practice.

I researched people, such as Freddie Mercury, trying to understand why they decided to become someone else. As a result, I focused my project on exploiting one side of my personality: obsessiveness. Taking inspiration in characters like as Sheldon Cooper and Srinivasa Ramanujan, I created a genius, obsessive, yet messy, Australian physicists.

My character researched the theory of aesthetics and how it can be applied in objects of nature. I found this project extremely interesting, after reading essays about aesthetics, studying applied-mathematics and coming up with my own conclusions about beauty and perfection. I created an object full of insights that tells its own story. However, I see opportunities for improvement in this project, such as having practiced the handwriting so it is consistent in all of the pages; and working on a performance piece to simulate the presentation she is to give at Monash University in Melbourne. That way we could really appreciate the contrast between her perfectionist and her messy personality.

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O B S E R V AT I O N As creatives, it is very important to learn how to really see. To understand how things, and our environment, really work. By doing correct observation, one is able to interpret the world around us from a more informed and specific point of view.

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RESEARCH

This project is centered in two main subjects: Collections & People and Places. Success would only be achieved if the sketches and drawings show deep understanding of what lays right in front of our eyes.

“We never look at just one thing; we are always looking at the relation between things and ourselves.� (Berger, 2008)

Collections ( 9x14cm ) & People and Places ( 21x13 cm) sketchbooks

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Image 1: Fifteen Buses by Jeremy Dickinson

Image 2: Flying Toasts and Traveling Grapefruits, film by Julien Vallée for googlG

What is interesting about these artists and designers is not necessarily their drawing ability (some of the work studied belongs to other media as well), but their capacity to convert a whole (a collection, a place or a group of people) into one thing, one form, one fixed object that is composed by light and shadow.

Image 3: Ridley Market by Lucinda Rogers

Berger, J. (2008) Ways of Seeing. London: Penguin Image 1: Dickinson, J. (2009). Fifteen Busses [Digital image]. Retrieved September, 2018, from https://www.designboom.com/art/jeremy-dickinson/ Image 2: Vallée, J. (n.d.). Flying Toasts [Digital image]. Retrieved 2018, from https://valleeduhamel.com/?portfolio=google Image 3: Rogers, L. (2017, October). Ridley Road Market [Digital image].

Retrieved September, 2018, from http://www.lucindarogers.co.uk/news.php Image 4: Rivera, D. (1910). Modern Mexico [Mural at “Museo Mural Diego Rivera”]. Retrieved September, 2018, from https://culturacolectiva.com/arte/ murales-diego-rivera

Image 4: Modern Mexico Mural by Diego Rivera

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Sketchbook 1: Collections - Butterflies at the NHM, pencil

Sketchbook 1: Collections - Leaves, charcoal and black ink

Sketchbook 1: Collections - Marine Gems at the NHM, water-based markers

Sketchbook 1: Collections - Suculents in a Flower Market, colour pencils and black ink

Sketchbook 1: Collections - Suculents in a Flower Market, colour pencils and black ink

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Sketchbook 1: Collections - Whale models at the NHM, colour pencils

Sketchbook 1: Collections - Whale models at the NHM, colour pencils

Sketchbook 1: Collections - Brick houses, pencil

Sketchbook 1: Collections - Pastries, watercolour and black ink

Sketchbook 1: Collections - Toothless mammal models at the NHM, pencil

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Sketchbook 2: People & Places - Black ink , acrylic and colour pencils

Sketchbook 2: People & Places - Black ink and colour pencils

Sketchbook 2: People & Places - Black ink , acrylic and colour pencils

Sketchbook 2: People & Places - 3 minute pencil excercises

Sketchbook 2: People & Places - Black ink , acrylic and colour pencils

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Sketchbook 2: People & Places - Charcoal and black ink

Sketchbook 2: People & Places - Water colours

Sketchbook 2: People & Places - Natural history museum, pencil

Sketchbook 2: People & Places - Charcoal

Sketchbook 2: People & Places - Charcoal

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In class observation excercise, wet media

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CRITICAL REFLECTION Being able to represent something graphically doesn’t not only refer to a special skill, but to the ability to see beyond the obvious and understand how things work.

I wanted to use different techniques to explore this observation project, such as pencil, charcoal, markers, pens, colour pencils, water colours and more. I decided to work with two different moleskine formats, yet both small enough to carry around with me.

I focused on understanding the way I see the world around me and how it can be visually explained. I enjoyed the first part, collections, trying to find patterns everywhere and representing them, specially linking the textures I saw with the media I chose.

However, the second part, people and places, represented a higher challenge for me; specially because I haven’t spent as much time studying them as I have with smaller things. During the feedback session I was told that my projection of people was more character-like than observational. I understood that I was letting my fear keep me from trying harder. I kept developing the project and paying more attention to human proportions and the way their figure interacted with the environment. I believe I have made a good progress and I would like to continue working on this specific part of the project.

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EXHIBITION Galleries, museums, rooms or buildings made for the display or sale of works of art. To creatives, no matter the level of study, an opportunity to exhibit original work is extremely important and a great opportunity to enter the artistic media and to reach many, different, audiences.

It is important to understand the way these spaces work, and more importantly the objective of participating in any kind of exhibition.

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RESEARCH

To gain insight into the world of the gallery the group visited fifteen different spaces around London. Working in small interdisciplinary groups, different galleries were chosen and carefully studied.

TEAM ONE: Monica Arroyo, Wei-Chen, Jen-I, Xizhuo, Qirui

Image 1: Gallery chosen: PACE Gallery, London

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What is a Gallery?

Art museums and art galleries are two different types of entities. The primary difference is that while one goes to an art museum to view art, one goes to an art gallery to view art from the perspective of purchasing the art.

Both are places to see and experience art. Galleries and museums share some characteristics; for example the artworks are typically shown in pristine empty spaces with minimal distraction and controlled lightning to showcase the exhibited art. This controlled setting allows the public to engage with the art in a specially - created aesthetic environment.

It’s about working closely with artists and having somebody in-house who can really focus on exhibitions, research, publications, and working with artists in their studios as they develop projects...

- Adria Hickey (PACE Curatorial Director)

PA C E G A L L E RY O V E R V I E W

Entrance to PACE Gallery London

American contemporary and modern art gallery.

Founded in Boston by Arne Glimcher, 1960.

Main Characteristics:

Ten locations worldwide that include New York, California, China and London.

Big open and bright spaces, surrounded by white walls. High ceiling illumination.

From 1993 - 2010, Pace joined Wildenstein & Co. to create a powerhouse gallery named “PaceWildenstein”.

Adaptable to different kinds of exhibitions and curatorial solutions.

In 2009 Pace created Artifex Press (online catalogue).

Multimedia spaces.

Represents numerous relevant contemporary artists like Robert Ruschenberg, David Hockney and Adam Pendelton.

Target: - Primary: art collectors - Secondary: artists, designers, students -Tertiary: art enthusiasts

Image 1: OCULA. (2018, October 2). Pace Gallery [Digital image]. Retrieved November, 2018, from https://ocula.com/art-galleries/pace-gallery/exhibitions/ adam-pendleton/

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DEVELOPMENT

Image 2: Adam Pendelton - Contemporary artist exhibited at PACE Gallery

What makes Our Ideas so breathtaking is, not only the curatorial exquisiteness that makes you feel as part of something bigger, but the distinguishable black and white palette that makes the art even more impacting.

Visit to PACE Gallery London

The current exhibition at PACE Gallery London is called “Our Ideas” by artist Adam Pendelton.

Pendelton is known for creating work categorized as “Black Dada”. He is an artist that works with different media, from collage to painting to video and performance, with a characteristic concern with language and historical narrative.

We, as a team, chose to take this zero degree as inspiration and basis of our presentation that would be represented in the colours used, the typography chosen and the clothes worn.

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Mood and colour palette

Two sans-serif typographies were selected: Helvetica Neue to be used for the body of text. Myanmar Sangam to be used for the big headers and titles.

Helvetica Neue ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 Mayanmar Sangam ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890

moni Everyone Presentation

An American contemporary and modern art gallery.

Founded in Boston by Arne Glimcher, 1960.

Ten locations worldwide that include New York City, California, China, London and Paris, among others Moved to Manhattan in 1963 to be part of the fast growing artistic environment.

From 1993 - 2010, Pace joined Wildenstein & Co to create a powerhouse gallery named “PaceWildenstein” In 2009 - Artifex Press (online catalogue) Robert Ruschenberg, David Hockney, Chuck Close and Agnes Martin.

Historical Founded in Boston by Arne Glimcher, 1960.

Now led by his son, Marc Glimcher.

1993 - 2010: Pace Wildenstein

Moni: Definition of gallery

gallery

“A room or building for the display or sale of works of art”

Visit with a perspective of purchasing the art Artworks are shown in pristine empty spaces Minimal distraction and controlled lightning This controlled setting allows the public to engage with the art in a specially - created aesthetic environment.

Presentation design - Adobe InDesign

Moni

Moni

Image 2: Septimus, M. (2017, October 4). What Is ‘Black Dada’? [Digital image].

Retrieved November, 2018, from https://news.artnet.com/art-world/adampendletons-black-dada-reader-1103051

represented early on and a more forward-looking conremporary programme” - Andria Hickey

fuel for cultural thinking

Historical context Learning from their trayectory, about all the changes in the cultural and historical context. Since the first artist they represented till the more forward-looking contemporary programme.

Pace gallery acts as an international ambassador, where it addresses and shares and presents work of artists from different cultural backgrounds, who have different statements, in different major cities in the world.

To consider what the work means to the artists and what it communicates to the people in the different countries and environments.

- Purchasing Art - Artworks shown in pristine empty spaces - Minimal distraction - Controled lighting - Allows engagement

history

BOSTON

“The gallery’s lineage has always been

abbout the way they look at their history

and the relationship between the artists they

2009 Artifex Press Future PACE: innovative approach to commissioning art in the public realm.

- 1960 Arne Glimcher - Ten locations worldwide - Moved to manhattan 1963 -1993-2010 Pace Wildenstein -2009 Artifex Press -Great artist catalogue

Offering fresh views and opinions, from different backgrounds, to the world.

Pace’s impact goes beyond the physical place.

By being a renowned name recognized around the world, this gallery is present in different media besides the physical places.

1- projects and collaborations 2- future pace: non-profit 3. online catalogues 4. art fairs

Individual slide layout and practice

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V E W F U L L P R E S E N TAT I O N H E R E

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PACE presentation design

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CRITICAL REFLECTION Collaboration is key to any project, and sometimes the value of teamwork can be underrated. Working with a multidisciplinary and multicultural group was a challenge. My team chose to study PACE Gallery, an international contemporary art gallery. Although it was hard for some members of the team to fully understand the objective of the presentation, I took the opportunity to express a sense of leadership and help guide the group in the right direction; weather it was explaining concepts or helping with the language, I helped achieve goal we had set up for and I am proud of our overall performance.

We took inspiration from the current exposition by Adam Pendelton. His art at the gallery, along with the curatorial exquisiteness, creates a great impact above everything else. We wanted to use this for the visual identity of the presentation, as well as the concept of visual economy and contemporary aesthetic. I was in charge of putting it all together and creating a sense of graphic harmony to accompany our presentation. I believe that we could improve our research process, we could’ve re-visited the gallery and talked to the people about their advertising and media philosophy; after all, it’s the primary sources that are most reliable for this kind of projects.

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WORD There is an important relationship between what we read and what we see. The right typography can be key for understanding correctly any text, and so can the meaning and intention behind a body of text influence the layout and overall design.

Design Thinking suggest we pay attention not only to the obvious, but to create a conceptual strategy that can be reflected in even the most subconscious levels.

For this, then, is important to not only see a word, but understand the true meaning of it.

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RESEARCH

What do we communicate?

Information, simple or complex, at the level of human relations or social, or even at a biological level. The information that is to be communicated must have a source and a destination that are different in the time and space where they originated. (Marián, 1988)

Definition of word A word is a single unit of language that can be represented in writing or speech. “Graphic representation of a sound, consisting of a letter or a group of letters delimited by white spaces.” (Collins, 2018)

SINGLE UNIT OF LANGUAGE = MEANING

Definition of Rhetoric The essence of visual relations. It allows us to analyze images from its significant point of view. (Marián, 1988)

Definition of Language Language is a system composed by oral, written and gestural signs that, through their meaning and relation, allow individuals to communicate with each other.

(Marián, 1988)

Index : direct relation with its referent

Icon: level or similarity Sign: Unit of meaning.

Signifier (form) Signified (meaning) Symbol: meaning

Signal: alerts/instructs

TRANSMITTER

MESSAGE

RECEIVER

Example of Rhetoric in advertising: Alliteration - repetition of the same image, sound, rhythm. It relates the images of an identical, or similar, identity.

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Example of Rhetoric: Opposition and Metonimia - substitution of a term for other that has the same physical relation

Example of Rhetoric: Visual Metaphor - igure of speech in which a word or phrase denoting one kind of object or action is used in place of another to suggest a likeness or analogy between them.

When analyzing any rhetorical figure, it is important to consider: 1. The support or media (paper, canvas, movie, etc.).

2. Genre (Visual, verbal, literary, sculpture…).

3. Statement / discourse (informative, poetic, etc.).

4. Topic or theme

- Definition of ‘word’. (n.d.). Retrieved from https://www.collinsdictionary.com/ dictionary/english/word_1 - Marián, L. (1988). La rRetórica Visual como Análisis posible en la Didáctica del arte y de la Imagen (Master’s thesis, UCM) (p. 24). Madrid: UCM. - Humphrey, Clark. Loser: The Real Seattle Music Story. New York: Harry N. Abrams, 1999

music “Vocal or instrumental sounds combined in such a way as to produce beauty of form, harmony and expression of emotion.” (Collins, 2018)

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Definition of Grunge Music movement formed from the fusion of punk rock , folk and heavy metal, and a subculture that emerged during the mid1980s in Seattle, Washington.

“Grunge” (US Slang) a general term of disparagement for someone or something that is repugnant or odious, unpleasant or dull; also dirt. (Humphrey, 1999)

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Image 1: Nirvana concert, Seattle WA, 1990

Image 2: Pearl Jam concert, Berlin 1991

Image 3: David Carson’s editorial design for Ray Gun magazine. He was known for his out -of-theordinary designs and unconvensional use of typography; commonly known as grunge design.

GRUNGE AESTHETIC - Use of “Lo-fi” (low fidelity) - Deliberately unconventional album covers - Murky photography - DIY aesthetic (economic necessity) - Inspiration from punk design - Experimental - Dirty and “lack of professionalism”

Image 1, 2 & 4 U of Music. (2015, February 15). Pearl Jam - Why go, An invitation to find your soul [Digital image]. Retrieved November, 2018, from http://www. uofmusic.com/pearl-jam-why-go/ Image 3: Carson, D. (1995). Ray Gun Magazine [Digital image]. Retrieved November, 2018, from http://www.davidcarsondesign.com

Image 4: Temple of the Dog album cover, 1991

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I D E AT I O N

Word Proposal No. 1: Black

The absence of light.

For the first proposal, the word “black” was chosen, not just because of obvious colour representation but as a symbol, a single unit of meaning directly linked to the fifth song in Pearl Jam’s album Ten.

Initial reflection: After careful study of the lyrics, listening to the song and going through different interviews from 1991 (year the song was released) and the present day, I was still unsatisfied with the project thinking I wasn’t exploiting it to it’s greatest potential.

Initial moodboard

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RE-DEFINITION “Calling each thing by its right name...”

- Borís Pasternak, Doctor Zhivago

Pearl Jam cover art - Album Ten realeased 27th of August, 1991

Image 5: Pearl Jam’s concert list

Word Proposal No. 2: Ten Going through the concert setlist, song reviews and listening closely to the Seattle Scene music, I realized the best way to represent grunge was to create a compilation of everything that truly is grunge.

Something extremely genuine, calling the meaning and essence by its right name.

For the second proposal I chose to represent the word TEN, not because of its numerical meaning but for its presence in the title of Pearl Jam’s first album. A unit of meaning highly charged with contextual and, very specific, insight information.

Image 5: Miller, T. (2013, October 18). Setlist Pearl Jam [Digital image]. Retrieved November, 2018, from https://www.setlisting.com/setlists/pearl-jam-barclayscenter-brooklyn-ny-usa-2013-10-18/setlist-photos/52a21c41349f74e711000063

The original name of the band was Mookie Blaylock, after the Atlanta Hawks’ basket ball star. However, the athlete sued the band for using his name without his consent. Even though they changed the ir name, they called their first album “Ten” as an act of irony, since it is Mookie Blaylock’s number.

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TEN = SUM = WHOLE The chosen concept consists of eleven posters that represent the essence of each song.

Collection’s visual identity:

GOTHAM abcdefghijklmnñopqrstuvwxyz ABCDEFGHIJ KLMNÑOPQRSTUVWXYZ 1234567890 Gotham was designed as a fresh typeface inspired in the New York skyline and architecture. Its purpose was to create a more modern version of Futura. I chose this type because it represents exactly what I want to do with the grunge aesthetic.

Experimentation process: creation of textures and masking tape blockage

Experimentation process : black water-based ink pen

Experimentation process: colour pencil illustration

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Once: Digital print, 594 x 841 mm

Even Flow: Digitalized pencil illustration, 594 x 841 mm

“Once upon a time I could control myself Once upon a time I could lose myself Oh try and mimic, what’s insane I am in it, where do I stand?”

“Even flow Thoughts arrive like butterflies Oh he don’t know, so he chases them away Someday yet he’ll begin his life again Life again, life again”

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Alive: Digitalized acrylic on canvas, 594 x 841 mm

Why go: Plane ticket digital print with stamp, 594 x 841 mm

“While you were sittin’ Home alone at age thirteen Your real daddy was dyin’ Sorry you didn’t see him But I’m glad we talked”

“She scratches a letter, Into a wall made of stone Maybe someday, Another child Won’t feel as alone as she does. It’s been two years And counting, Since they put her in this place She’s been diagnosed, By some stupid fuck And mommy agrees, Why go home?”

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Black: Pencil on black paper, 594 x 841 mm

Jeremy: Replica of J. Delle’s school form, 594 x 841 mm

“... And now my bitter hands Chafe beneath the clouds Of what was everything Oh the pictures have All been washed in black Tattooed everything”

“Dead lay in pools of maroon below Daddy didn’t give attention Oh, to the fact that mommy didn’t care King Jeremy the wicked Oh, ruled his world ...Jeremy spoke in class today”

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Oceans: Digitalized pen illustration, 594 x 841 mm “Hold on to the thread The currents will shift Glide me towards you know something’s left And we’re all allowed To dream of the next”

Porch: Paper cut - suggesting the act of opening and closing of a door, 594 x 841 mm “All the bills go by, and initiatives are taken up By the middle, there ain’t gonna be any middle any more And the cross I’m bearing home Ain’t indicative of my place, left the porch”

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Garden: Digitalized pen illustration, 594 x 841 mm “The direction of the eye So misleading The defection of the soul Nauseously quick I don’t question Our existence I just question Our modern needs”

Deep: Digitalized water-based ink anc colour pencil illustration, suggesting the immersion of a needle, 594 x 841 mm

“And he sinks the needle deep Can’t touch the bottom In too deep Can’t touch the bottom”

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Release: Digital Print, 594 x 841 mm “I’ll ride the wave where it takes me I’ll hold the pain, release me”

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CRITICAL REFLECTION Words and images surround us, every day, everywhere. There is a link between them.

After all the essence of graphics and illustration is the representation of a specific “meaning”. The topic I chose was grunge music. I feel very passionate about this specific genre and I was concerned that I wouldn’t be able to do it justice.

I chose to work with the word “ten”, not as the obvious representation of a number or the name of an album, but the concept of collection and sum. In order for a series of eleven posters to look as a “whole” I set specific rules for their visual identity that consisted in one typography and a colour palette that was directly linked to the grunge culture. I was afraid to fall in the obvious representation of grunge, and so my new take on this concept was centered around its essence: genuineness. To represent each song in its most naked way.

I am completely satisfied with the result, I enjoyed the research and how this led me to find new solutions to the problem. However, I would’ve liked having more space for experimentation, trying different printing techniques and really making the link between media, material and meaning. I see this as a great opportunity to take this project even further.

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S TA R T I N G P O I N T An opportunity to explore the world of visual identity, to work with topics we are most passionate about and to understand the way branding plays an important role in the engaging relationship between viewer (receiver) and a piece of visual communication.

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RESEARCH Definition of zine “A small magazine that is produced cheaply by one person or a small group of people, and is about a subject they are interested in.” (Cambridge, 2018) Historically, zines have been self-published as pamphlets or leaflets as early as the 1700s. Over time this developed into an array of other topics, with the first “boom” of zines starting in the 1930s. Known as “fanzines” and “perzines,” these were started by fans of science fiction magazines who self-published zines about both science fiction and the connected fandoms behind them. (Issu, 2018)

Image 3: PUNKZINE by Melvin Tan

Image 4: CocoRosie by Rocío Galarza

Common zine characteristics

Image 1: Gute Nacht by Laura Asmus

DIY - inspired look.

Consisten aesthetic is not a rule Can change from issue to issue There are no guidelines!

Photocopies, hand-sewn books, sketchbooks and a myriad of other ways.

While zines used to be produced in print, there has been a shift to digital publishing in recent years. That’s not to say that there aren’t print zines, but a digital format has made it easier for zine creators to circulate their work to a larger audience.

Image 2: A Box of Books, Vol. IX, 2016

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Brainstorming excercise to find a topic to work with

-Issu. (2018, November 13). Zines vs. Magazines: What’s the Difference? - Digital Zines. Retrieved from https://blog.issuu.com/zines-vs-magazines/ Image 1: Asmus, L. (2017). Gute Nacht. Retrieved November, 2018, from http:// www.designmadeingermany.de/2013/41633/ Image 2: Victoria. (2017, September 11). Zine-mania! Retrieved November, 2018, from https://www.sfgirlbybay.com/2016/02/18/zine-mania/ Image 3:Tan, M. (2012). PUNKZINE. Retrieved 2018, from https://www.behance. net/gallery/6015905/You-Drive-me-Crazy-Britney-Spears-Zine Image 4: Galarza, R. (2014, January). Pressbook / Recital CocoRosie. Retrieved November, 2018, from https://www.behance.net/gallery/14187659/PressbookRecital-CocoRosie

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I D E AT I O N

Proposal No. 1: Escape A travel zine that is centered around the most exotic destinations, such as islands, cities, hidden towns or countries. It includes various articles that vary from local drinks and cocktails to history and contextual background of the location.

C O L O U R PA L E T T E

Topic 1: Island Adventure - Bora Bora

Bora Bora is a 30.55 km2 island group in the Leeward group in the western part of the Society Islands of French Polynesia, an overseas collectivity of France in the Pacific Ocean.

Moodboard: look & feel of zine design

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INITIAL FEEDBACK After the initial presentation it was noted to me that the topic was interesting and, somehow, elitist. Given the content, the way it was planned to be presented and the idea of escape.

Other people from the group presented concepts that truly reflected what they felt most passionate about. Since this was the ultimate objective of the project, I asked myself if I was really taking this project to its ultimate potential and exploring what really interests me.

Proposal No. 2: Adventure A travel zine that is centered in adventure. It explores different destinations that are perfect for backpacking and getting lost in beautiful sceneries and cultural richness.

This issue is about: Greenland

In-session brainstorming for new concept

Moodboard: look & feel of zine design

Moodboard: look & feel of zine design

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Media and Literature Research Novels, movies and essays were consulted to better understand the essence of adventure.

ZINE PROFILE M O N T H LY P U B L I C A T I O N Different destination per month

TA R G E T A U D I E N C E Primary: travelers / backpackers 18 - 35 years old Secondary: travel enthusiasts

CONTENT - Motto - Introduccion of destination - Cultural facts - Flora & Fauna - Tips from locals - Local vocabulary - Travel information - Recipe / Fun activity

F O R M AT: P R I N T 17 x 24 cm

VISUAL IDENTITY - Logo - Original illustrations - Colours (depending destination)

COMMUNITY - Membership required - Mailing list - People invited to participate

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5.6 x

Logo design: WILD

wild wild

13 x

x

WILD is the name chosen after a careful brainstorm. The logo design looks to be organic, approachable and playful. The letters are sans-serif and have pronounced, curvy strokes (all within the same x size) that suggest a sense of humanity and community. The superscript dot of the letter “i� is below the x line to reflect an act of wilderness and rebellion.

Illustration process

Step 1: Edditing on Photoshop

Step 1: Vector Illustration

All the illustrations follow the same illustration style and colour sheme

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The last page of Wild Zine, contains the recipe for Clementine Cake, made famous by “The Secret Life of Walter Mitty�

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CRITICAL REFLECTION I see this project as the best example of understanding once’s potential. The objective was to talk about something we were passionate about. Although I think we shouldn’t stay stuck in our confort zone, I believe we can always find a certain level of passion for what we do.

The concept I created for the fanzine was adventure. More than a publication, I wanted it to be a cultural window, full of insights and inspiration to see the world. Within a limitation of 17 x 24cm, I looked to express the sense of wilderness. Studying novels, essays and movies such as Into the Wild, Walter Mitty and Walden, I attempted to extract the essence of adventure and wanderlust. It’s a publication that talks about a different destination every month. I chose to represent the visual aids through digital illustrations to give a sense of personality and to add paper textures as reference to a travel journal.

I am content with the result of this project, as I had time to experiment with different materials and study the way the paper choice worked with the illustrational style. I can see potential in this project and I would enjoy taking it further; exploring what other issues would look like, test it with the target audience and consider a digital platform.

MÓNICA ARROYO BEREZOWSKY

K1823744

M A B