WILL HIBBERT OUGD406 DESIGN PRINCIPLES STUDIO BREIF 01 & 02 COLOUR BOOK COLOUR BOOK POSTER PENGUIN CRIME SLEEVES A1 POSTER
OUGD406
DESIGN PRINCIPLES
STUDIO BRIEF 01 & 02
sign. From researching I found that Leatrice Eiseman’s, executive director at Pantone Colour Institute, thoughts on IKB were the most relatable. “IK Blue was associated with the outer reaches. With the advent of the new millennium, people were fascinated with ‘what lies beyond’.”
when coming to digital print I had to change into CMYK due to it being subtractive, where as RGB is additive.
COLOUR Within my colour theory book I researched into various areas of colour. These were Josef Albers’ colour theory, Klein Blue, Pantone, colour schemes and RGB vs CMYK. Josef Albers’ own work led him to see there were two considerations that destabilised colour which were of particular importance in painting: quantity and environment. He saw that a large mount of colour appears to be quite a different colour than a small amount of the same colour appears to be quite a different colour than a small amount of the same colour. For this reason I wanted my colour book to be white and not have surrounding colour to change the perception of accurate colour chosen. Although I didn’t end up using Klein Blue through some of my Design Principle collateral, I found it interesting to learn about why its so become so popular within Graphic De-
Pantone colour coding was really interesting to research as I had never heard of it before university. But within printing it is major and it enables people across the world to compare and be accurate when choosing colours. Within my Pantone strips I left the hex codes to find the certain colours accurately. When coming to print my products within this module I had to consider RGB and CMYK. I designed in RGB as it is mainly used for screen and web design. However
Within this module I also found colour schemes really important. Learning the use of colour schemes effectively will help my practice to choose the right colours for certain briefs. I did not make enough collateral within design principles to show this however. As I don’t have a massive amount of collateral, the colours chosen within the penguin book sleeves and A1 poster were influenced from previous designs which I have reproduced in my own style.
COLOUR
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DESIGN PRINCIPLES
TYPE Throughout the Helvetica documentary I learnt a lot of designers thoughts towards the typeface Helvetica. The most useful quote I chose to take from the film which I will use throughout my practice was by, Wim Crouwel, “Helvetica was a real step from the 19th century typeface... We were impressed by that because it was more neutral, and neutralism was a word that we loved. It should be neutral. It shouldn’t have a meaning in itself. The meaning is in the content of the text and not in the typeface.” For example within these design boards and within my colour book I used Helvetica to be neatrul with colour coming through the images and full spreads. Reading Vignelli’s Canon at the start of the year, it gave me a real base of understanding type. Vignelli believes you should only use Garamond, Bodoni, Century, Helvetica, Optima, Futura, Univers, Caslon, Baskerville. ‘As you can see my list is pretty basic
but the great advantage is that it can assure better results.’ As well as keeping to these typefaces I also use Josef Mueller Brockmann chosen typefaces Garamond, Caslon, Baskerville, Bodoni, Clarendon, Berthold, Times Roman, Garamond, Helvetica, Univers. Vignelli also prefers a more objective approach when using type, ‘I try to make as clear as possible the different parts of a message by using space, weight, and typographic alignments.’ This can be seen the front page of my A1 poster which uses spaced out type with typographic alignments.
STUDIO BRIEF 01 & 02
TYPE
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DESIGN PRINCIPLES
STUDIO BRIEF 01 & 02
When comparing my first colour theory book with the one I have produced now, I believe my practice as improved dramatically and I think this can be seen throughout my work that I have produced this year. In terms of the colour book, I think my second version is a lot stronger.
the basic structure of our graphic design, it helps to organize the content, it provides consistency, it gives an orderly look and it projects a level of intellectual elegance that we like to express.’ Vignelli, Canon.
As well as reading into books from designers on grids and layout I also looked into creating grids through angles and calculations from the Romek Marber Grid. I used this grid to create my Penguin Crime sleeves.
‘All design work involves problem solving on both visual and organisational levels. Pictures and symbols, fields of text, headlines, tabular date: all these pieces must come together to communicate. A grid is simply just one approach to bringing those pieces together. Grids can be loose and organic, or they can be rigorous and mechanical.’ Timothy Samantha, Making and breaking the Grid.
I find a grid to introduce systematic order to a layout, understanding types of information and easing a reader’s navigation through them. For this reason I now tend to use up 20x20 grids as this gives me great accuracy. The layout within my colour book is very simple and kept text boxes and images aligned consistently throughout. I wanted the colour to come through, meaning as well as my colour choices in white and black, the layout had to be neutral as well.
LAYOUT
‘Nothing could be more useful to reach our intention than the Grid. The grid represents
LAYOUT
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DESIGN PRINCIPLES
FORMAT When creating the format for my colour book I began to work around the photograph I wanted to use my Pantone with. For this reason I used quite a thin portrait frame. I also had to consider bleed, which when coming down to cutting down my pages it will be neat with no pages hanging over as more pages pushes the edges out. This was the mistake with my first book, I had no bleed which left a unprofessional finish. In my first colour book I had pagination, however within my second book I didn’t. This was due to initially having a second year student critique my work, after some more research I found Vignelli, canon, ‘Page numbers are not needed within a publication below 25 pages’. As I wanted to bind my second Colour book I also had to think about the publication’s
right hand margin as that had to be shortened as this left sufficient space to bind. The bind I then decided to used was the Japanese Stitch, which I used due its simplicity and due to it being simple this added to the neutral consistency. The stock choices chosen for the initial colour book was quite thick paper throughout. However after redesigning I used 180gsm paper for the cover with 120gsm for the inside spreads. This was due to having the spreads easier to flick through and having a thicker piece of paper protecting the thinner spreads. The stock of the penguin book covers are thin but if I was printing them again I would look to print of something a lot thinner, maybe 90gsm, as book sleeves are usually very thin.
STUDIO BRIEF 01 & 02
FORMAT
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FINAL OUTCOMES A1 Poster Colour Book Colour Poster Book Sleeves
DESIGN PRINCIPLES
STUDIO BRIEF 01 & 02
WILL HIBBERT