Live Projects Season

4-8

CHRISTOS KYRIACOU

31-34

9-21

LIVE PROJECTS

35-48

22-30

KYR11325896

49-52

Please click the hyperlink icon for website access

INTRODUCTION During the lIve Season period, I undertook

Though the reality of both worlds overlap and

a series of large and small projects ranging

it helps to have both skill sets, the processes

from freelance to competitions, internships to

are very different. For example, when branding

self-initiated briefs, and tutorials. All of which I

an organisation the proverbial ‘design hat’

have included within this visual presentation.

goes on, yet when creating a narrative for the

Please click large/small shapes to navigate between chapters

history of that organisation, the ‘illustration At first I found it difficult to begin. I didn’t

hat’ slips on. Essentially this description

know where my first job would emerge form

personifies my actions through the contained

and I didn’t know how to react under the

work.

pressure of industrial deadlines. However, once it did arrive, the rest followed accordingly. For sure there were large stale patches in between but I tried to stay active and up to date by learning new skills and enjoying the sunshine.

Overall, I feel that this fulfilled my proposal by covering a good balance of both branding and illustration. As a result, I emerged with clearer path for my future specialism.

2

3

FREELANCE MINI BRIEFS 1.

2.

1.

My very first challenge was to create a sub-

The James Street Jam are a young and

logo for the ‘Jami’ brand which appealed to

independent Jazz band formed of five

women’s fraternity sportswear. The client had

musicians. Their genre fuses popular music

a specific vision in mind which was centred

with live jazz sounds to create a more

around the current fuschia and white colour

authentic acoustic sound.

scheme, except with a handwritten font within a love heart. The general notion was to

The task was to create a complete front and

encapsulate both sports and femininity.

back cover for their launch album titled ‘take One’. After speaking with friend and lead-

I acquired the job through my Godmother

singer Michael Cooper, emphasized the need

who also design’s and cuts patterns for the

for a ‘classic Jazz feel’ with minimal colour

owner (my uncle) Irving. This connection was

(like many Jazz albums), trusting my design

an essential starting point which triggered

initiative in creating whatever I wanted within

my momentum for the remainder of the Live

such loose parameters.

Projects period.

At most, this logo took me a week to complete considering research, development, and final outcomes.

2.

THE JAMES STREET JAM

2. INITIAL LOGOS

At the beginning, I devised some variations according the clients specific vision. This did not leave much space for expansion as I persisted with one possible outcome.

Nevertheless, I began on the logo whilst the client was present. Receiving first-hand guidance, which visualises the basic notion for further development once on my own.

4

2. FINAL OUTCOME

After negotiating and tweaking the details

The feature would have been embroidered

of my drafts with the client, I reached a

into the material, giving it a classic badge

conclusive outcome which I have displayed in

look.

both fuchsia and black.

From such a small beginning, I have Upon completion, this went straight onto

maintained a connection with this client

a T-shirt and hoody for mass printing

and have scheduled plans to work on other

production.

elements within his brand as the clothing range expands.

5

1. JAZZ COVERS

I began by looking at a range of classical Jazz

By observing such a small collection, I was

covers from the 20th century. I found that

able to select a few elements and update

all designs portray a sense of high society

the design in a 21st century context, just as

and connoisseurship to a niche audience.

Michael had proposed.

They fulfil this by including monochromatic photography, splicing and collaging imagery, using minimal or few colours and incorporating elegantly elongated typography.

6

1. LAYOUT

THE james STREET JAM

TAKE ONE

THE james STREET JAM

I began by drafting a series of twenty

movie production, whilst doubling as sound

variations in layout before selecting three

manipulation knobs found on digital audio

which I felt captured the main categories of

equipment.

TAKE ONE

THE james STREET JAM

TAKE ONE

variation. I then sought to create a narrative via symbolism. I began by looking at roles and

After completing this variation, I mailed the

instruments played, followed by tessellated

work to Michael and there was an instant

triangles which symbolize a five member

sense of gratitude from the band. They loved

synchronises before settling with a series of

my design and chose a final front cover for

lines which characterize the ‘take one’ within

which to base the rest of the layout on.

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1. FINAL OUTCOME Front & Rear Cover

1. BAr queen 2. fly me to the moon 3. for once in that’s life 4. five to one

THE james STREET JAM

TAKE ONE

6. LOSING FAITH 7. FEELING GOOD

THE james STREET JAM TAKE ONE

THE james STREET JAM TAKE ONE

5. moondance

Vocals: Michael Cooper Sax: Lawrence Lewis Drums: Dan Wild Piano: William Clare Bass: Debs Spanton

Recorded by Debs Spanton . Artwork by Christos Kyriacou . Thanks to the guys at Farm Factory

Inside Cover

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9

CLOOCI BRIEF When applying for an internship at Award

submitting the PDF on the deadline (18th of

winning creative agency Clooci Creative, I

March 2014), I have yet received no verdict on

received a reply within a week stating that I

progressing to the next stage of interview.

have been chosen as one of ten individuals out

I have been in constant contact with their

of one-hundred applicants to undertake a trial

spokesperson Anna Lisa Del Carro, in an effort

brief for stage two. The brief states ‘design

to discover where I stand and she stated that

a logo under the Red Arrow brand’. This

the design team is still reviewing my work.

should be a British brand for export, a symbol of British elite. The style of the font should

The initial email clearly stated that interviews

incorporate red arrow style (but not refer to

will commence for the final five, followed by

planes per-se) and the style of graphics used

a one week internship for the winner during

should be vector-look/’Mod style’.

the final week of March. With regards to the second party’s incompetency, I fear that this

After endless applications, this proposition

was a smokescreen to lure hopeful designers

made me feel both excited and relieved that

in for free work. Thankfully however, after

someone had taken notice of my portfolio and

browsing online, I found no sign of my work

had decided to give me a chance.

nevertheless, a valid lesson in trust was learnt.

To my disappointment however, after

A shame considering the positive reception

completing a thorough body of work and

from many viewers.

C: 0 M: 100 Y: 100 K: 0 C: 0 M: 0 Y: 0 K: 0 C: 100 M: 70 Y: 8 K: 54

BRAND VALUES

I began by studying the Mode culture of

As the brief stated, the idea was to maintain

the 1960’s and the Royal Air Force’s Red

this by creating a sub-brand to the RAF so I

Arrows. In the wider context, this added to

immediately researched the brand guidelines

my contextual background knowledge as I

to retrieve colour codes and generate a range

further gained a solid understanding of simple

fo typographical styles.

signs and symbols, the rebellious fashion of modernists groups and the heroic portrayal of daredevil air pilots.

10

LOGO STUDY Sporty

Rock

I observed some of the biggest players in the

all seem to point forward or alertness in

energy drinks business. In total, I discovered

some manner. Conversely, the Rock category

two main categories being Sporty and Rock.

captures the typeface of a rock ‘n’ roll/heavy

This helped me to identify which is would

metal legend, implying the transformation in

be most similar to my finished logo and the

character once the drink is consumed.

patterns which connect them together.

Conclusively, I found that the Red Bull brand The Sporty logos consist of similarly slanted

represents similar themes to a potential Red

typefaces and icons apart from Red Bull yet

Arrow Logo. Sports, flight and devilishness.

11

THE MARKET Sporty

USA - Energy Drinks in 2013 Company

Share (m)

Red Bull

$3, 433

Monster

$3, 147

Rockstar

$821

Nos

$274

Full Throttle

$104

Xyience Xenergy

$43

$8, 104 million

After scouring the net seeking statistical information on energy drinks sold in the United Kingdom, I found nothing related. On the other hand, I gathered American statistics which is just as relevant considering that this is a British brand for export. None to my surprise, I found that Red bull had the lion’s share in the market and this is what I had to compete with if this brand existed.

12

AUDIENCE PERSONA

Late nights

Travel everyday

Ages 13 - 35

Fast food lovers

Eat out Busy social

Males

City workers

Addictive personalities

Active lifestyle

Students Full- time

Adrenaline junky Use public transport Being a university student who shops at the

induced population on a daily basis.

local Tesco in Elephant and Castle Shopping

Though probably not entirely accurate, this

Centre, I conclude that most students and

estimation in allows you to build an imaginary

young adults drink energy drinks to keep

character which works well within such a

themselves psychologically and biologically

short period. After all, thorough research in

active whilst during the crunch time of

and around the market, ultimately, informs

deadline week. This became the basis for my

each educated guess.

Sporty characters Live in the city

detailed persona. Furthermore, travelling via underground introduces one to the caffeine

13

NONAGON

The Nonagon is a polygonal shape which in this context represents the nine pilots flying on the Red Arrow team. The aim here was to being with something symbolic in order to generate a sense of leadership form chief pilot to following formation, and the association with high-speed movement. This became the basis for my further simplification of shape.

14

ARROWED ENERGY

During this stage, my icons refer specifically to the upward motion of a plane when taking off. All icons maintain tension point or series of tension points which translates a message of full-throttle activity and climb. At this point however, there was something slightly generic and more so instructional rather than original so I proceeded with the blend tool.

15

WAVE BLEND

This stage refers back to the nine pilots from a different standpoint. Instead of one shape, these Bezier curves characterize the synchronisation, velocity, beauty and variation in stunts performed by the team. Furthermore, this was my direct answer to the briefs statement about ‘not referring to planes per se’. Although nice on the eye, they seem too complex when minimized.

16

UP ‘N’ DOWN

My iconic development stage focused a visual range of possibilities which could be produced once de constructing and reconstructing on one curve. This curve became the natural progression by fitting into the flower of life grid (p.20). Though fairly abstract it still represents motion whist being solid enough to be recognised.

17

ADDING MOD BLUE

To complete the modernist feel, I added the secondary colour, providing variation and depth in addition to size. Furthermore, the design was easier to embellish like that of an aviator crest as the central wave was established. Amongst all experiments however, I chose the bottom left logo as it was the most powerful yet unique and punchy yet elegant symbol amongst unnecessary decoration.

18

COSIDERING TYPE Helvetica Neue - Ultra Light

Helvetica Neue - Bold (expanded + blend)

Streetwear - with glyphs (1)

Streetwear - with glyphs (2)

Gotham HTF - Black Italic (expanded)

Gotham HTF - Black Italic

When incorporating type, I looked at a range of bold typeface families which varied in thickness and slant. I used two traditional ones and I experimented with a retro Superdry style. For the second, I chose the bottom right because it was the cleanest, boldest and resembled the red Bull racing image most.

19

SACRED GEOMETRY

20

O

U

T

C

O

M

E

FINAL LOGO

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22

PRINT CLUB COMPETITION Print Club’s Blisters Sound Sessions required

Whilst this is both good experience and

applicants to ‘submit a poster in your own

complementary to my design profile, for £40

style inspired by your favourite band/song/

per print, I could make 60% per print (40%

musician/tour/gig’. In an effort to create

commission) if chosen for the final exhibition.

abstract illustration, using the name of the

This would raise my level of independence

band, song or musician was permitted, whilst

knowing once met with the reality of making a

use of other text was allowed. Finally, all

living through independent design initiative.

artwork had to be prepared for a 500mm x 700mm print (B2 format).

Unfortunately, I received an email soon after submitting three outcomes, revealing that my

As illustration was one of my considered

design was not chosen for the final exhibition.

avenues for future development, this was an

Nevertheless, it was a pleasure to take part

opportunity to show-off my style, choosing

with many other creative people, contributing

any track of choice. In addition screen printing

for the love of illustration and I shall be doing

was a long-forgotten method which I had not

this more often.

practiced since 2010 at college so this was a chance to prepare revisit a widely enjoyable printing process.

CHOSEN TRACK

Sound Brain Waves

Ambient Chant

The Underworld

Orgasm

‘Mentasm’

Clap

Joey Beltram Go to next page to stop track

Brainwaves Shaking Coil Sound

Running Coiling

Inverted Bass

Sinister

The chosen track is Mentasm form Joey Beltram. This dark racy techno sound is an unsettling masterpiece which remains one of my all-time favourites. I enjoyed analysing the layered composition as the first thirty seconds

Association

gradually introduces each sample to create a downward spiral of coiling sound. This track vibrates most with me therefore allowing me to maintain interest throughout development.

23

IDEA 1

The first stage refers directly to the brain becoming a creature through mental orgasms.

Though obvious, this was my starting point for deeper development into areas within Mentasm that are not so obvious. Using Photoshop to mutate and collage imagery this way expanded my skills furthermore as I constantly practiced with blending options.

24

IDEA 2

Secondly, I progressed into the visualisation of brainwave activity imagined to occur within whilst listening to the music. I visualised my mind thoughts bouncing off the inside of my skull and this is what I aimed to translate through vectorised waves and circular wrapping methods. Though exciting and visually tranquil, it seemed to plain and lacking narrative undertone.

25

IDEA 2 CONT.

26

H E O F UA ET D C DB O A ME C E K S

CLASH OF THE GODS

After watching Clash of the Gods, I chose to

Tartarus is the realm of eternal suffering

incorporate the narrative of Greek Mythology

in a pit of fire, The Fields of Punishment is

into my final composition. The idea of coming

the place of eternal suffering for those who

Coming face to face with the mythical master

committed crimes against the gods, The Fields

of death (Hades) to meet your fait in the

of Asphodel is where ordinary or indifferent

underworld, once life on Earth has ended.

souls who did not commit any significant

The music relates to the tense anticipation

crimes linger, and Elysium is the heavenly

awaiting Hades’ decision to send you to one of

landscape for the distinguished.

four places within the underworld.

27

O E F U ET D C B O A M C E K S

BITMAP TUTORIAL

This tutorial by Abduzeedo allowed me to experiment with photography by adjusting thresholds and applying a line effect to create a moire effect on the eye. This was a natural progression from abstract line (p.25) to more complex tonal work. In a sense lines in an ordered formation can represent the sound revealing the image from inside the designer’s mind.

28

IDEA 3

I began by taking another image to trial

When progressing therefore, I maintained a

the final outcome. I tried to enclose the

one or two-colour tone in separate locations

complexity with simple geometry to gauge

within the layout to simplify the process.

how the cropped image is interfered by the boarder tension. The CMYK version of

The following page includes the final

overlapping layers creates a more engaging

submissions which fit the specific description

visual however this does not match the

on p.27. Overall, this process has taught me to

darkness of sound and would prove expensive

print tests, in order to see how my design in

when screen printed.

the flesh before submitting.

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O E F U ET D C B O A M C E K S

3 OUTCOMES

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31

3D TUTORIALS Back in December when I revealed my Live

The second tutorial is a more structured

Projects proposal, one of my aims was to learn

long-term investment of time into learning

CINEMA 4D as an way of expanding into the

the software step-by-step through

realm of digital modelling and animation.

Greyscalegorilla.

When finding the appropriate time to begin

This group is an active community and

my first tutorial, i stumbled across two main

resource for training and tools for creative

tutorials which were fairly brief, yet covered all

types and by starting the ‘Introduction to

the aspects of the software of a base level.

CINEMA 4D’ tutorial selection I shall complete

CINEMA 4D

Ivan. C

all 18 videos by the end of my time at The first was a ten minute tutorial which

university. The following twelve also focus on

focused on modelling by YouTuber Ivan. C.

Adobe After Effects, a graphical tool which

This tutorial served as a basis for my Final

goes hand-in-hand with 4D rendering.

major project which focuses on creating threedimensional Adhoc contraptions. Though a

Overall, I feel more confident in mastering

fairly short-term crash-course, I may revisit it

an impressive 3-D software now that I have

whenever in need of brushing up my Mograph

begun learning in small steps.

skills.

Greyscalegorilla

F E E D B A C K

KARL’S FEEDBACK

Clooci Brief

Print Club

Pilots are heroic symbols

Specialise for screen printing Energetic colours Symbolic substance

Powerful sport Red Bull like

Understand process Make it memorable

Masculine

My appointment with Karl during my previous

beat and tried to make it most memorable by

projects generated some useful feedback to

using one to two colours.

progress with.

As a beginner in 3-D software, I decided to During the Red Arrow design I absorbed

take Karl’s advice and move from Google

the notion masculinity and heroism from

Sketchup to CINEMA 4D.

start to finish. With regards to the Print

Analyse & deconstruct the music

Sketchup is beginner’s stuff

3D

CINEMA 4D is the ‘real-deal’

Club competition I made ensured the deconstruction of the core elements within the

32

F E E D B A C K

MODELING

When modelling this shell-like structure, I was introduced to the many levels, bars and blend options within the Step, Cloner, and sphere tools. By grasping the process at the end, I began to personalize my object by utilizing a range of liquid, matte and gloss textures assigned to each section of the shape. I had learnt to utilize the first specific tool within such a large platform.

33

F E E D B A C K

ANIMATION

This tutorial was conducted by Chris Schmidt, an experienced CINEMA 4D designer. By making an animation from start to finish, I had achieved digital motion for the first time!

Something which as a print illustrator is not often achieved.

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35

IDEOLOGIO INTERNSHIP Founded in 2010, Ideologio is run by creative

Whilst working with toward both digital

duo Spyros Zevelakis and Sarah Roesink in

and printed outcomes to promote such a

Southwark South London. Whilst centred in

vast array of wines, I gained experience

many areas of communication design they

in many unexplored areas of design. This

work together with inspired entrepreneurs and

included mastering vector cartography and

organisations to help them differentiate and

curved icons, applying ‘Styles’ in InDesign,

compete through creativity and meaningful

and artwork. To date, this has proved to be

visual communication.

my richest industrial experience and I am

Ideologio

scheduled to be here until the 19th May 2014.

With reference to this specific project, under Spyros’ guidance, we worked together

I contacted Spyros during the November

to create a series of info graphics which

period and unfortunately, there was no

communicated the Wines of the Peloponnese

available places at the time yet I contacted

for Markus Stolz ‘s Ellinos brand. Whilst he

again in January and after the reviewing my

aims to create an export market for native

portfolio during the interview, we scheduled

Greek wines by educating a worldwide

to begin in May. This process taught me to be

audience, we delivered an accessible and

enthusiastic and persistent to show employers

engaging visual stimuli for this.

the will to work.

Spyros Zevelakis

INK BRUSHES

36

CRAYON BRUSHES

These textures were achieved though a series of hand-crafted tests. The intention was to create a texture fit for the icons and map of the Peloponnese. Spyros wanted to create a hand-made illusion by applying heavy brush textures to flat shapes. The watercolour/ink range proved not to be as effective as it failed to add a roughness and randomness to the final finish.

37

APPLYING BRUSH Wines of the Peloponnese

Crayon Set Prevails

1 2

6

1

2

3

4

5

6

5 3

4

p1

Whilst reviewing David McAndless’ Information is Beautiful, most data visualisation graphics are portrayed in a primary flat and simple way with a mostly serious undertone. On the other hand, Spyros’ final graphic offers a refreshing tactile style, not often seen within cartography, let alone info graphics.

38

GRAPES Rio Patras

Muscat Blanc

Patras

Muscat Blanc

Malvasia

Patras

Mantinia

Namea

Mavrodaphne

Monemvassia Assyritiko Asproudes Kydonitsa

Roditis

Moschofilero

Agiorgitiko

Mavrodaphne Korinthiaki

It is evident that there is a wide range of both

In future, I shall apply this knowledge when

native and international grapes produced

creating info graphical works and in particular,

in Greece. Whilst plotting the geographical

the wine map of Cyprus.

locations (p.45-48) I utilised the New Wines of Greece website. This study informed an

Furthermore, as a Greek working on a Greek

ingrained knowledge of Greece’s topography,

project, I feel that I am making a great

regional layout, prefectures and production

contribution to the promotion of Greek culture

hot spots.

around the world.

39

WINE VECTORS

Standard White

Dessert

Port

Standard Sweet

Caubarnet Sauvignon

Mederia

Standard Red

39 Sweet

18 Burgundy for Red

Light Red

19 Bourdeaux for Red

Sauternes

Chardonnay

32 Burgundy White

Sweet White

Rose

Sparkling

Rich White

21 Bourdeaux for White

21 Sparkling

Bold Red

Medium Red

Dry White

After reviewing all personal feedback during the FdA, I limited the selection to six projects for my website portfolio, based on the most positive tutor feedback. After reviewing all personal feedback during the FdA, I limited the selection to six projects for my website portfolio, based on the most positive tutor feedback. After reviewing all personal feedback during the FdA.

40

STYLES Character

Object

Paragraph

A character style is a collection of character-

A paragraph style includes both character- and

A object style is a collection of object-

formatting attributes that you can apply to a

paragraph-formatting attributes, and can be

formatting attributes that you can apply to a

selected range of text. These were most helpful

applied to a selected paragraph or range of

selected range of objects. Object styles were

when using a variation of thicknesses and

paragraphs. Using character and paragraph

not needed for this project however, I learnt

italisised fonts within an ordinary paragraph.

styles

ensures

this during another project when tracing a

Thankfully, this particular theme was not too

consistent formatting. I applied this method of

website template for Bootstrap. This consisted

complicated and therefore not many styles

organization to the following tables and index

of making a series of buttons ranging in size

were needed overall.

pages ensuring a refined professional outcome.

and colour (with character styles).

together

saves

time

and

41

APPLYING STYLE

Protected Designation of Origin

Region Wine Colors

Muscat of Rio Patras Grape: Muscat Blanc

Mavrodaphne of Patras Grapes: Mavrodaphne, Korinthiaki

Nemea Grape Agiorgitiko

Muscat of Patras

Mantinia

Grape: Roditis

PDO products are prepared, processed, and produced in a given geographical area, using recognized know-how and therefore acquire unique properties.

Arcadia pgi since 1996 Dry White Sweet White Semi-Sparkling White Medium Dry White Dry Rosé Semi-Sparkling Rosé Medium Dry Rosé

Indigenous grapes

International grapes

Aidani Glikerithra Kydonitsa Savatiano

Gewürztraminer ROSÉ Riesling Sauvignon Blanc Viognier

District

Avgoustiatis Fokiano Mavrodaphne Skylopnichtis

Mourvèdre Pinot Noir Refosco Tempranillo

Athiri Kydonitsa Rokaniaris Savatiano Sklava

Gewürztraminer ROSÉ Sauvignon Blanc Viognier

Ilia

Thrapsa Voidomatis

Mourvèdre

Dry White Dry Rosé Dry Red

Corinth pgi since 2000 Dry White Dry Rosé Dry Red

3

pgi since 2008 Dry White Medium Dry White Medium Sweet White Sweet White Dry Rosé Medium Dry Rosé Medium Sweet Rosé Sweet Rosé

2

3

pgi since 2004

Dry Red Medium Dry Red Sweet Red

Indigenous grapes

Grapes: Monemvassia (min 51%), Assyrtiko, Asproudes, Kydonitsa

Indigenous grapes

International grapes

Athiri Kydonitsa Muscat Blanc Savatiano Sklava Sultaniye

Gewürztraminer ROSÉ Riesling Sauvignon Blanc

Korinthiaki Mavrodaphne

Malbec2 Mourvèdre Pinot Noir Refosco

Sweet White Wine

p2

Red Wine

International grapes

Asproudes Kydonitsa Malagousia Moschofilero ROSÉ Muscat Blanc Roditis ROSÉ Savatiano

Chardonnay Gewürztraminer ROSÉ Grenache Blanc Riesling Sauvignon Blanc Ugni Blanc Trebbiano Viognier

Agiorgitiko Avgoustiatis Black of Kalavryta Fokiano Mandilaria Mavrodaphne Monemvassia

Cabernet Franc Cabernet Sauvignon Carignan Grenache Rouge Merlot Refosco Syrah

pgi since 2000

4

4

Dry Rosé Medium Sweet Rosé

5

Malvasia di Candia1 Skiadopoulo Sultaniye

Albarino3 Sauvignon Blanc Ugni Blanc Trebbiano Viognier

Avgoustiatis Korinthiaki Mandilaria Mavrodaphne

Carignan Grenache Rouge Mourvèdre Negroamaro4 Refosco

Indigenous grapes

Dry White Medium Dry White Medium Sweet White Sweet White

Dry Red

Ancient Olympia 5

Dry White Dry Rosé Dry Red

Aidani Athiri Kydonitsa Monemvassia Petroulianos Potamissi Thrapsathiri

Ugni Blanc Trebbiano

Tegea

b

Letrina pgi Ilia since 1993 Dry Red

Chardonnay

Agiorgitiko

Cabernet Sauvignon Merlot Syrah

Agiorgitiko Mavrodaphne

1

Achaia pgi since 2004 Dry White Medium Dry White Medium Sweet White Sweet White

Sea

Dry Red

p3

Fokiano Limniona Mandilaria Thrapsa Voidomatis

Carignan

1

Asproudes Patra Athiri Goustolidi Malvasia di Candia1 Malagousia Muscat Blanc Migdali Potamissi Volitsa White Sideritis ROSÉ

Gewürztraminer ROSÉ Riesling Sauvignon Blanc Ugni Blanc Trebbiano

Avgoustiatis Black of Kalavryta2 Korinthiaki Koritsanos Mavrodaphne Volitsa Black

Grenache Rouge

Indigenous grapes

International grapes

p4

1 Temporary allowed since 2008 2 Three different clones

Area

International grapes

Index

pgi Arcadia since 1993

a

Cabernet Franc Cabernet Sauvignon Merlot

Dry Red

;YPÄSPH pgi Messinia since 1989 Dry Medium Dry Medium Sweet White

b

Dry Rosé Medium Dry Medium Sweet Rosé

Merlot Refosco Syrah

Dry Red Medium Dry Medium Sweet Red

p9

g g

h Fileri Roditis

Chardonnay Grenache Blanc Ugni Blanc Trebbiano

Agiorgitiko

Cabernet Sauvignon Cabernet Franc Cabernet Sauvignon Carignan Grenache Rouge Merlot Syrah Tempranillo

h

p10

Klimenti pgi Corinth since 1996

Arinto Grenache Blanc Ugni Blanc Trebbiano

Fokiano Korinthiaki Mandilaria Voidomatis

Carignan Cinsaut Grenache Rouge Refosco Tempranillo

Indigenous grapes

Color

6

Letrina pgi Ilia since 1993 Dry Red

a

International grapes

Chardonnay

Agiorgitiko

Cabernet Sauvignon Merlot Syrah

Agiorgitiko Mavrodaphne

Merlot Refosco Syrah

b

p8

Index

Indigenous grapes

Arcadia

Origin

a

Malagousia Moschofilero

p7

Roditis

3939

○

�

Mavrodaphne

364

○

�

Moschofilero

1046

○

�

Muscat Blanc

190

○

�

Fileri

105

�

Cabernet Sauvignon

134

○

�

Mavroudi

77

○ ○

Mavroudi

114

○

�

Kolliniatiko

70

○

�

Merlot

91

○

�

Cabernet Sauvignon

38

○

�

�

Asproudes

35

Hectares

33

○ ○

Chardonnay

76

Syrah

63

○

�

Skylopnichtis

Sideritis

59

○

�

Roditis

20

Black of Kalavryta

34

○

Asproudes

29

Sauvignon Blanc

Color

Origin

�

� � �

�

Merlot

18

○ ○

○

�

Mavrodaphne

16

○

�

25

○

�

Chardonnay

15

○

�

Muscat of Hamburg

23

○

�

Asprovergamo

12

○

�

Asprovergamo

21

○

�

Malagousia

19

○

�

Lagorthi

17

○

�

Agiorgitiko

13

○

Aglianico

11

○

� �

Argolida Variety Name

Hectares

Agiorgitiko

313

○

�

Roditis

248

Asproudes

21

� �

Mavroudi

16

○ ○ ○ ○ ○

Savatiano

13

Syrah

12

International grapes

Laconia Variety Name

Messinia

Variety Name

○

Dry White Dry Rosé Dry Red

7

7

Goustolidi Monemvassia Savatiano

Hectares

PGI Area Wines constitute the most restrictive designations in terms of geographic boundaries, which usually form a section of a district. The varieties and types of wine also follow strict specifications.

6

b

p6

a

Malagousia Moschofilero

International grapes

PGI District Wines have more strict regulations than PGI Regional Wines in terms of the grape varieties allowed.

Dry Rosé Medium Dry Rosé

Mediterranean

International grapes

Messinia pgi since 2004

Variety Name

Dry White Dry Rosé Dry Red

Turkey

n Sea gea Ae

Indigenous grapes

Achaia

pgi Corinth since 1996

Indigenous grapes

Red international: Cinsaut, Mourvèdre, Pinot Noir, Tempranillo.

Greece

Egypt

District

2 Temporary allowed since 2006 1, 3, 4 Temporary allowed since 2009

Area

PGI Area Wines constitute the most restrictive designations in terms of geographic boundaries, which usually form a section of a district. The varieties and types of wine also follow strict specifications.

Klimenti

Red indigenous: Limniona, Skylopnichtis, Thrapsa, Voidomatis, Volitsa.

Italy

Sweet Red Wine

Laconia

p5

Area

pgi since 1989

District

White indigenous: Asproudes Patras, Aidani, Assyrtiko, Athiri, Glikerithra, Goustolidi, Laghorthi, Migdali, Petroulianos, Potamissi, Robola, Rokaniaris, Skiadopoulo, Sklava, Volitsa Aspro.

2

Dry Red

Argolida

Peloponnese

Monemvassia —Malvasia

White Wine

Note There are additional grape varieties allowed, but current plantings are small.

The PGI Regional Wines constitute the broader, overall level of the PGI wines of Greece.

Dry White Dry Rosé Dry Red

n Sea gea Ae

Kalamata

In the EU, schemes of geographical indications known as Protected Designation of Origin (PDO) and Protected Geographical Indication (PGI), promote and protect names of quality agricultural and food products. Amongst many other products, the names of wines are also protected by these laws.

District

Grape Moschofilero

Epidaurus

Patras

International grapes

— Region — District — Area Wines

Athens

Grape: Muscat Blanc

Indigenous grapes

PGI products are closely linked to the geographical area in which they are traditionally and at least partially manufactured (prepared, processed OR produced), and have specific qualities attributable to that geographical area, therefore acquiring unique properties. Depending on their geographical breadth, PGI zones are divided into three levels:

Color

Origin

� � �

�

Corinth Color

Origin

23

○

�

○

�

Gewürztraminer

21

○

�

○

�

○

Grenache Rouge

173

Ugni Blanc

163

Mavroudi

637

○ ○

�

Fileri

455

○

�

○ ○

� �

○

�

Asproudes

119

Roditis

647

○

�

Refosco

117

Savatiano

Color

Origin

�

�

496

○

�

Savatiano

51

Asproudes

150

Cabernet Sauvignon

42

○ ○

120

○ ○

�

Sultaniye

�

Merlot

27

○

�

Cabernet Sauvignon

92

○

�

Agiorgitiko

26

○

�

Mavroudi

63

○

�

Violento

25

�

Chardonnay

27

�

Carignan

23

Merlot

26

○ ○

○ ○

�

Mavrodaphne

19

○

�

○ ○

�

Chardonnay

16

○

�

�

Assyrtico

11 11

○ ○

�

Syrah Mandilaria

11

○

�

p11

Roditis

201

2950

18

�

�

Cabernet Sauvignon

Hectares

Agiorgitiko

11

�

○

○ ○

Hectares

Assyrtico

○ ○

26

361

Variety Name

Syrah

�

28

Kydonitsa

Fokiano

806

�

�

�

Fileri

109

Mavroudi

75

Chardonnay

72

Cabernet Franc Alicante Bouschet Refosco

Origin

○

132

Agiorgitiko

Hectares 939

Variety Name

Color

437

Asproudes

� �

Variety Name Roditis

Roditis

Hectares

Mavroudi Origin

Ilia

Color

○ ○

� �

57

○ ○

41

○

� � �

34

○

�

Agiorgitiko

24

○

�

Merlot

22

○

�

Mandilaria

18

○

�

Carignan

15

○

Tempranillo

15

○

�

Assyrtico

14

○

�

�

Asproudes

13 12

○ ○

�

Kolliniatiko Syrah

11

○

�

Cinsaut

11

○

�

�

�

SOURCES George Skouras from Domaine Skouras and Konstantinos Lazarakis, MW, have provided me with sources and current data. I am very grateful for their contribution.

Greek Ministry of Agriculture, current data sampled during the period 2012 and 2013.

New Wines of Greece website "Wine Grapes" by Jancis Robinson, Julia Harding and José Vouillamoz, published in 2012 "The Wines of Greece" by Konstantinos Lazarakis, published 1995 Data for PGI Region is as of February 2013, source http://bit.ly/greekwinelaw Data for PGI Districts is as of April 2010, source http://bit.ly/1diLnBS Great care has been taken to accurately analyze raw data. In some cases, I used my own best judgement. For example, the grape varieties were often named in Greek, without any further information. I suspect that some names that are only known locally were used in the official data. An example would be "Asprovergamo". I have also put Moschofilero and Fileri together in the percentage chart for the most widely planted grape varieties on page 1, but used the breakdown in the index. Both synonyms are used to refer to a group of clones with the same DNA profile. However, Fileri might also refer to a table grape grown in some areas of the Peloponnese.

Designed for ELLOINOS.com in March 2014 Information design: ideologio.com � Illustration: Spyros Zevelakis Published under Creative Commons Licence: Attribution-NonCommercialNoDerivatives 4.0 International. �

p12

42

ARTWORKING iPad Wallpaper

Website Teaser

Facebook Cover Image

851px x 315 px

1000px x 1200 px 2048px x 1536 px

Art working was a tough and vigorous process which required the rearranging of certain elements to fit different dimensions yet still appear the to have the same ratio in spacing.

Though majoratively boring, the process taught me the ugly side of design which is necessary when undertaking large projects.

43

GOING LIVE

44

MY EXTENSION

Greece

Key PDO Town

Thrace Macedonia

(Protected Designation of Origin) “Designation of Origin of Superior Quality” are in essence

North Aegean Islands

the historical winegrowing and winemaking areas of Greece.

Epirus

A

PGI:

Central Greece

eg

ean Sea

(Protected Geographical Indication) comprise the Greek “Local Wines” category and some

The

Ionian Islands

Thessaly

wines of ‘Traditional Appellation’.

Both European and Greek wine

Attica

legislation stipulates that local wines are a sub-category of

Pelopenesse

table wines which have been experiencing considerable growth both in Greece and other European countries.

From what started as a relatively small project which focused on one region of Greece, turned into a project which covered the

Cycladian Islands

PGI Regional PGI Area

entire country. The following pages reveal all the areas that I personally researched and

PGI District

revisualised. For now, they act as a template for Spyros to create a similar info graphic to

Dodecanese Islands

Crete

that of the Peloponnese.

45

UP NORTH

Thassos

Drama

Drama

Macedonia Serres

Adriani

Thassos

North Aegean Islands

Kavala Agora

Pella Florina

Pella

Kiklis Macedonia Slopes of Paiko Goumenissa

Serres

Thessaloniki Florina Imathia

Imathia

Lemnos

Pangeon

Amynteo Kozani

Florina

Kavala

Naoussa

Muscat of Lemos

Lemnos

Slopes of Vertsikos Thessaloniki

Halkitiki

Kastoria

Kozani Saltitsa

Pieria Velventos

Halkitiki

Pieria

Lesvos

Agionoros

Mount Athos Sythonia Slopes of Meliton

Grevena

Agean Sea

Lesvos

Krania

Thrace

Ioannina

Ioannina

Chios

Epirus

Zitsa Epirus Metsovo

Chios Xanthi

Thesprotia

Evros Rothopi

Avdira

Arta Preveza

Evros

Samos

Thrace Ismaros

Slopes of Ambelos Samos

Ikaria

Ikaria Ikaria

46

AT THE CENTRE Attica Kerkyra Attiki

Kerkyra

Illion

Salamina

Gerania

Elassona

Slopes of Penteliko Pallini Peanea

Halikouna

Rapsani

Slopes of Parnithia

Vilitsa

Meteora Spata Koropi

Tyrnavos

Trikala

Thessalia

Makropoulo

Agistri

Paxi

Methana

Lefkada

Spetses

Larissa

Karditsa

Aegina

Messenikola

Magnissia

Krannonas

Karditsa

Magnesia Anchialos

Poros

Thessaly

Hydra

Lefkada

Ithaki Muscat of Cephalonia Mavrodaphne of Cephalonia Slopes of Enos

Mantzavinata

Cephalonia

Robola

Evritania

Opountia Lokrida Parnassos

Metaxata

Ionian Islands

Skyros

Fthiotida

Zakynthos

Zakynthos

Etoloakarania

Valley of Atlanti Ritsona

Slopes of Knimida Continental Greece

Fokida

Lilantio Pedio Thebes

Evia

Livadia Slopes of Kitherona

Kythera

Karystos

Central Greece 47

DOWN SOUTH Muscat of Rio Patras

Patmos

Lipsi

Mavrdaphne of Patras

Pelopennese

Leros

Achaia Slopes of Petrodo

Kilimnos

Klimenti

Slopes of Eugalia

Muscat of Patras

Achaia

Kos

Corinthia

Corinth Kos

Simi

Nissiros

Namea

Illia

Pelopennese

Ilia

Astipalea Nissiros

Arcadia

Tilos

Rodos

Rodos Muscat of Rodos

Dodecanese

Mantinia

Argolida Argolida

Tegea

Arcadia

Chalki

Messinia

Dodecanese Islands

Trifilia

Messinia Laconia

Aegean Sea

Laconia

Pylia

Andros

Monemvassia - Malvassia

Karpathos Gyaros

Kea

Tinos

Kassos Syros

Mykonos Rinoea

Kythonos

Thapsana

Crete

Donoussa

Cyclades

Serifos

Naxos

Paros

Sifnos Kissamos

Chania

Chania

Antimilos

Rethymno

Rethymnon

Peza Archanes

Sithia

Koufonisi Irekleia

Kimolos

Milos

Amorgos Keros Ios

Polyaigos

Lasithi

Heraklion

Paros

Cyclades Islands

Sikonos Folegandros

Heracles Crete Daphnes

Santorini

Santorini

Anafi

48

49

SELF-INITIATED WORK My self-initiated project reflects my love for

covering this particular season.

Arsenal Football Club and the beautiful game.

With regards to expanding my info graphical

As I aimed to communicate my team’s Golden

capabilities, I saw this passion as an efficient

Age under Arsene Wenger, I looked to the

launch pad which could maintain my interest

footballing statistics thruought the unbeaten

for a long period of time.

year of 2003/04, which earned the players the ‘Invincibles’ title after going 49 games

When working with individual components

unbeaten in the Premier League , 38 of which

from Adobe Illustrator and balancing them

covered an entire season.

within an InDesign layout, this produces a complicated trial and error process which is

To this day Arsenal remain the only team to

an extension of simple PDF design. I felt that

reach this feet in english football since Preston

once tirelessly refining and connecting my

North End in 1889.

skills in both programmes, future layout would become easier as I become more capable.

As recently voted the greatest ever Premier League team in Premier League’s 20 Seasons Awards, I decided to produce an info graphical outcome with the knowledge of many existing analytical studies and other visualisations

GATHERING INFO

As a season ticket holder, I frequently go to

very basic and bland. No elements released

see the Arsenal at home where I bought a

a nostalgic feeling of ‘the old Arsenal’ and I

match day programme containing an info

sought encapsulate that.

graphical page for record statistics. This helped me to devise football-like visual style

In addition I wanted to further include

and layout system for my own.

individual statistics beyond the currently vague presentations. This lead me to

Furthermore, I found other designs relating

footballperformanceanalysis.com.

to the ‘Invincibles’ Season yet they were

50

3

NCIBLES’ 26 12 0 THE ‘INVINCIBLES’ THE ‘INVINCIBLES’ 26 1 TOP GOALSCORER TITLE COUNT THE ‘INVINCIBL DEF2003/04 SEASON

ASSISTS

SCORED

OG

DW DWW D WWWWWWWWW DW DW D D DWW

WON: DRA ARSENAL’S UNBEATEN ARSENAL’S UNBEATE SEASON 2003/04 SEASON 2003/04

OUTCOME

14

HOME: 26 WWWW D DWWW DWWW D DW DWW D WWWWWWWWW DW DW D D DWW HENRY WWWW D DWWW DWWW D DW DWW D WWWWWWWWW DW DW D D DWW

30 3 30 3 3 33 TEAM

WWWW D DWWW DWWW 14 D D W D W W D W W W STARTING 14 HENRY HENRY 7 PENALTIES

ARSÈNE WENGER’S

TEAM

73

XI

TEAM

ATT

TOP GOAL PLAYER APPEARAN

ATT

SCORED

THE ‘INVINCIBLES’ 69 69 73 73 36 35 69

MID

ATT

MID

DEF

PIRES

ARSENAL’S UNBEA SEASON 2003/04

CAMPBELL

COLE

LAUREN

32

32

MID RD ASSISTS SCORED DEF ASSISTS WWWW D DWWW D W W W D D W D W W D W W W SCORED WWWWWW DW DW D D DW AWAY: 12 CONCEDED: 26 HOME: 26 DEF ASSISTS OG

OG

14

TEAM HENR AWAY: 12 HOME: 26 STARTING TITLE COUNT HOME: 26 PLAYER TITLE COUNT 38 TITLE 37 37 APPEARANCES COUNT ARSÈNE WENGER’S STARTING ARSÈNE WENGER’S PLAYER STARTING PLAYER ARSÈNE WENGER’S 38 APPEARANCES ASSISTS SCORED APPEARANC OG

XI

LEHMANN

This therefore acted as a mere trial for which

within A4 dimensions. I applied a variation of

to show to professionals within the industry in

silhouetted with photography and maintained

order to generate a body of feedback.

69 XI

MID

the Gotham font family, taking advantage of

DEF

the many variations.

PIRES CAMPBELL I felt that this was a somewhat cramped layout

presented this way.

36

TOURE

ATT

This is my complete first draft, laid out

with no real justification as to why it should be

HENRY

COLE

32OG

35

LAUREN

SILVA

LJUNGBERG

VIEIRA

BERGKAMP

32

32

30

29

28

73 XI

LEHMANN

51

RD

RD TITLE COUNT

PIRES

CAMPBELL

COLE

LAUREN

36

35

32

PIRES

32

CAMPBELL

SILVA

LJUNGBERG

COLE 26 HOME:

32

30

LAUREN

PRO FEEDBACK

Me Juan David Martinez I plan on doing many more do you think that data visualisation can be a stand alone career?

Maybe navy blue.

It needs variation in colour as the different components overlap too much.

More information and more space and both radial graphics could be smaller too.

Red/yellow cards, nationalities, shots, goals per game etc... definitely smaller for sure.

More detail in the goals assists and shots for each player.

The silhouettes could be a little smaller.

It depends, in Colombia, there are so few people working as infographists, pay is very low.

A week later I received con from Colombian designer Juan David Martinez, which encouraged me to continue this ongoing project for the throughout the summer season. This instant dialogue made it easy

I think there may be another better scheme like red-black, gold-black may have more impact.

to understand both viewer perspective and professional input from a fellow designer.

52

REFLECTION To conclude, this enlightening experience has

This course has adapted my mind into that

allowed me to overcome my fear of meeting

of a designer who places function over form,

frequent deadlines within a condensed period

rather than that of an illustrator placing form

of time, learning new software, and choosing

over function (most cases).

my design specialism for the future.

Though I love illustration in its technical I found that designing with image, diagram,

beauty, I find it self-absorbed and laborious in

shape, text and three-dimensional material

comparison to slick and efficient design and

in branding or illustration is most enjoyable

therefore favour this wider application.

yet, I do not wish to be an illustrator in the traditional sense.

I feel that all projects showcase my capabilities as a flourishing designer and I wish to evolve

I feel as though there are many new avenues

as an interdisciplinary individual.

to explore through faster and more innovative digital means, as opposed to drawing for hours on end. I am fully confident that I am technically capable of such execution yet there is no longer a motive behind the act, and therefore my passion for it is lost.

53

THANKS