Sindhura ravindra sem 2 word and image doc by Sindhura Ravindra

WORD & IMAGE 1

WORD & IMAGE COURSE FACULTY

DOCUMENTATION BY

Dr Tridha Gajjar Programme Coordinator Graphic Design NID, Ahmedabad

Sindhura Thathaiah Ravindra S160115 Graphic Design PGDPD 2016-17

SPECIFICATIONS Page Dimensions 148mm X 190mm Headline Typeface DIN Alternate Bold set in 12pt Body Text Typeface DINPro set in 10 pt and 8pt DINPro was designed by Albert-Jan Pool and Eric Spikermann 2

ACKNOWLEDGEMENT I am grateful to Dr Tridha Gajjar under whose guidance I learned about understanding how word and image interact with each other. I would like to thank all my classmates who helped with ideating and have always given me constructive feedback. I would also like to thank the IT department for providing us with very good printing facility.

COURSE DETAILS RELEVANCE

OBJECTIVES

This course is one of the core fundamental courses for Graphic Design discipline as this course provides basis of visual meaning making process.

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This course provides basis of visual image and text fundamentals to achieve appropriate visual perception. Students will learn to apply their understanding of image and text in individual manner as well as combined manner for creating visual meaning and appropriated intended visual perceptions. Students apply their knowledge of typographic and visual forms to projects that encourage the introduction of word and image with visual hierarchies. The iterative process will be highly encouraged to achieve desired visual solutions. Visual organizations and production issues along with project management are stressed.

CONTENTS INTRODUCTION

ASSIGNMENT 1

ASSIGNMENT 2

INTRODUCTION SEMIOTICS The study of sign and symbols and their uses or interpretation is semiotics. There are 3 main areas that form what we understand as Semiotics: • The SIGNS themselves • The way they are organized into SYSTEMS • The CONTEXT in which they appear.

Looking at language as a system of signs. Semiotics consists of a form of the sign and it’s meaning. DENOTATION It is the precise, liternal definition of a word that might be found in a dictionary. CONNOTATION It refers to the wide array of positive and negative associations that most words naturally carry with them.

METAPHORS They are regarded as representative or symbolic of something else. An implied comparison that brings together two dissimilar objects or things.

CULTURAL CONSIDERATIONS The world is becoming small through communication and technologies. It is uncommon for the designer to create a piece that will be understood as intended by the designer by people from different parts of the world. Understanding the audience is important.

COLOUR, MEANING and ASSOCIATIONS They evoke powerful emotions. The impact of colour is direct and emotional, it has the maximum attraction value. It creates the right atmosphere for an object which means less work for the nrain and results in successful transmission of the message. It is the quicker way of communicating an

instantaneous piece of information and has symobolic meanings across different cultures.

Our mind usually reads the colour first and then the image.

IMAGE TRANSFORMATION Grphic designers fill images with expressive and communicative power by IMAGE ALTERATION Make striking alterations in appearance, characters or circumstances. Creating a similarity between images and objects.

EXAGGERATION This transformation helps get attention. It can be done by enlarging, reducing the size of objects, by melting the hard and solidifying the soft objects.

IMAGE COMBINATION Images are combined in a way that their content becomes additive and carry different concepts together. This combination has to be logical.

CAMERA ANGLE The change in camera angle and view point transforms ordinary images in a new way to communicate differently.

CROPPING Cropping and cutting images differently can greatly enhance the effectiveness of routine images.

PHOTOMONTAGE When photography and images are combines to get new configurations.

ASSIGNMENT ONE SYMBOL DESIGN Design a symbol. • Come up with mission and vision statements for a hypothetical/ existing companies. • Structure your own design brief. • What are the dominant attributes which you will take further to project in your symbol. • Come up with multiple ideas to design the symbol using the keywords. • Choose one of the multiple ideas and refine it. • Add appropriate colour. • Build a concise brand book for this company. 10

VISION & MISSION VISION Is to provide encouragement to young writers and to build confident and creative young learners and thinkers. MISSION Is to harness the power of books and publishing process to nurture children’s literacy, creativity and self confidence.

DESIGN BRIEF To name and design the logo for a new children’s book publisher, where books are written by children, for children. The publishing house intends to provide encouragement to young writers and nurture children’s literacy and creativity, to build their self confidence. To publish unforgettable stories and characters for children and expand their vision. The publishing house publishes in all languages as the original work. Age group of readers and writers is 3 - 15. 11

ATTRIBUTES KEYWORDS Creative Young Story Learn Write Read Dream Children Feel Experience Live Nurture Fun Drawing Words Rhyme Blabber Break Begin/ End Binding Cover Spine Bed-time Nap Memories 12

Friends Random Entertain Enagage Immerse Share Colour Happiness Imagine Wonder Grow Bloom Tactile Digital Pictures Wander Eutopia Fantasy Wonderland Play Music Paper Library Study

Hero Villian Morals Animals Nature

CHILDREN SHARE IMAGINATION

Are the three main attributes of this company

NAMES Existing Children’s book publishers

Suggested Names

Timbaktoo Publishing Kid’s Own Publishing Tulika Publishers Tara Books Karadi Tales Katha Ekalavya Pratham Books Kalpavriksh Pick Your Books Young Zubaan Red Turtle Duckbill Seagull Books

Kids Katha Lippy Publishing Imaginarium Backyard Books Blabber Books

LIPPY PUBLISHING BACKYARD BOOKS Are the two main name options chosen. 13

SYMBOL EXPLORATIONS

Multiple ideas were explored and a couple ideas were narrowed down to be worked on in detail. 15

IDEA 1 This particular idea evolved from the idea of communication being on two ends of a thread and the childhood toy of tying two cups on either ends of a thread and communicating throught that. I also tried to use other elements like pencil, airplane, clouds etc to show imagination.

CHILDREN SHARE IMAGINATION

SYMBOL 1 - FORM

IDEA 2 This particular idea evolved from the idea of imagination and images that could depict a childâ&#x20AC;&#x2122;s imagination and the aspect of communication between children.

CHILDREN SHARE IMAGINATION

SYMBOL 2 - FORM

SYMBOL Between symbol 1 and 2, symbol 2 was chosen because it seemed more appropriate for the mentioned target group and it also showed the chosen attributes more appropriately.

COLOUR VARIATIONS

Backyard Books

TYPOGRAPHY

The typeface chosen for this brand is BARIOL designed by Atipo type foundry.

LOGO SPECIFICATIONS COLOUR Black & White

Single Colour

C80 M10 Y45 K0 R0 G167 B157 #00A79D

C70 M16 Y0 K0 R39 G169 B225 #27A9E1

Full Colour Radial Gradient Location 60.34% C80 M10 Y45 K0 R0 G167 B157 #00A79D

119.7Â° C70 M16 Y0 K0 R39 G169 B225 #27A9E1

Backyard Books

SIZES

3cm

The full logotype can be used upto a minimum size of 3cm.

1.5cm

The symbol can be used to a further smaller size upto 1.5cm.

CLEAR SPACE

TYPEFACE

BARIOL REGULAR ABCDEFGHI JKLMNOPQR STUVWXYZ

abcdefghijk lmnopqrstuv wxyz

The Quick Brown Fox Jumped Over The Lazy Dog

Bariol Regular Bariol Regular Italic

ASSIGNMENT TWO POSTER DESIGN Design two posters with the same concept/ idea. One poster must have verbal and the other non-verbal communication Can be made using any medium.

IDEATION Topic: MARINE DEBRIS Marine debris is any man-made, solid material that enters waterways directly through littering or indirectly via rivers, streams and storm drains. Marine debris can be simple items such as a discarded soda can, cigarette butt, or plastic bag that ends up in the ocean potentially harming marine life. Nearly 80 percent of marine debris originates from land-based sources.

VERBAL POSTER

NON VERBAL POSTER

LEARNINGS

Meaning making is a very important part of Graphic Design and this course taught me how to connect meaning to images. Understanding how one image can give multiple meanings and if there is one slight change, it could also changee the communication. The second exercise taught me how the same message can be given with and without supporting words.

While ideating initially designing a poster without words felt like a great challege and after many discussions, many ideas started coming up. And the fact that there were multiple ideas helped me understand how the same thing can be conveyed in multiple ways and I also learned how one can choose what the best way out of the multiple ideas we have.