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Design Rationale
Over the span of completing this project, my ideas have changed a lot. For example, the color scheme I used on my style tile is not the color scheme I ended up using for my final stickers. After creating the style tile color scheme in Photoshop, I realized that my color settings were set to RGB instead of CMYK, which I needed to use for print. Once I realized this, I tried replicating those colors in CMYK but, it was very difficult. I learned that CMYK colors aren’t as bright and vibrant as RGB colors and so I couldn’t replicate them exactly. I didn’t like the way the colors were converting. They looked really dull in CMYK, so I decided to switch my color scheme almost entirely. I ended up being really happy with this decision. I used the same 3-4 colors on every sticker and I think the colors look really nice and united.
For the illustrations on my stickers, I pretty much stuck with my original sketches. For the “Made in the 90’s” sticker I was able to replicate my sketch just by using the shape tool in illustrator. For the “As if” sticker, I scanned in my drawing and used the pen tool to trace it. For my last sticker, I was stuck for a while on what to do. I didn’t want to use my sketch idea because that would have meant I would have to make a rectangular sticker, when I wanted all my stickers to be round. I knew I wanted to incorporate 90’s hip hop in some way, so I tried a couple different ideas. First, I sketched a boombox and tried tracing that into illustrator, but it was too complicated and I wanted to keep the illustrations simple. Then, I decided to draw a crown to represent The Notorious B.I.G, one of my favorite rappers from the 90’s. This sketch was pretty simple so I decided to use it.
For every sticker I used a different font. I was worried about this choice at first. I thought the stickers would look too disjointed if I did this however, I didn’t see any way of getting around it. The fonts that I chose each fit the sticker that I made for them so perfectly, so I just went for it. In the end I don’t mind the different fonts.
I found it very challenging to finish this project in a short period of time. The hardest part however, was not having any critiques before the final one. I love getting feedback from other people and it really helps me understand what I need to do. I definitely think I could have done more with this if I had more time and feedback. I still want to continue working on these and try to develop them more.
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Fonts:
Finger Paint by Ralph Oliver du Carrois
https://www.fontsquirrel.com/fonts/finger-paint
Fun Sized https://www.dafont.com/funsized.font
Nosegrind https://www.dafont.com/nosegrind.font
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Sticker Design Proposal
For my project, I am making a 90’s themed sticker collection. Since this project is aimed towards my peers, I thought it would be a good idea to make it about something we all have in common, the decade we were born in. I want these stickers to remind people of their childhood. Everyone who was born in the 90’s is an adult now and is probably loaded with stress and responsibilities. I think it would be nice to able to look at these stickers and be reminded of a simpler time when we were all kids.
To create this nostalgia, I am going to use bright colors and a fun font. I will also reference 90’s pop culture on the stickers. I am going to make my stickers about movies and artists who were popular during this time, who defined the 90’s for many people. Since stickers are pretty small, I am going to keep my illustrations simple. I don’t want to do anything too detailed where people won’t be able to see everything that’s going on. I also want people to be able to recognize my references easily so, the simpler the better.
To create some unity between each individual sticker I am going to repeat the same colors and make them all the same shape. Since my stickers are all about different aspects of the 90’s, I want to use different fonts that fit each one individually. I also want to try to create a similar style of illustration on each one, which will also help unify them.
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Design Rationale
The idea for the concept of Culture Magazine came pretty easy. I have been obsessed with fashion since I was young and so I knew I wanted that to be the main topic. However, establishing the style of my magazine proved to be a much harder challenge. Originally, I wanted this magazine to be inspired from high fashion magazines, like Vogue. However, I quickly realized that I wouldn’t be able to accomplish that, given the types of pictures I had. The photos I had access to wouldn’t fit into a high fashion magazine. Therefore, I had to change my perspective. I still wanted my magazine to look clean and somewhat sophisticated but, I had to also try to fit the mood of my photos. Here, I decided to step away from my original design idea and add a bit more complexity. Instead of spreads with huge photos, no color, and limited text, I decided to start thinking of spreads with bold color, multiple smaller pictures and organized blocks of text.
Before the first critique, I had two completely different spreads. I had taken two of my wireframe designs that I liked the most and ran with them. It wasn’t until I had them both printed out, side by side that I realized they weren’t going to work. The two spreads looked like they could have been from two different magazines. They had no repeated elements and they both looked pretty empty. I was very disappointed and so I decided to scrap them both and create two new spreads that would look more unified.
The first thing that I thought would really help was having the same style page numbers on each page. Page numbers wasn’t something I thought of a lot before this point but after seeing other spreads from the rest of the class, I realized that page numbers could be a vital element in tying the two spreads together. I decided to add the magazine name to each page number because I wanted the purpose of my spreads to be clear to whoever was looking at them.
Another vital thing I changed after the critique was my typeface. Originally, I had two different typefaces to use for the headings of both my articles. However, during the critique it was suggested to me, that if I used the same typeface for both of my article headings they might look more unified. Therefore, I decided to use a font I found on Font Squirrel, Questa Grande, for both of my headings. I really liked this font because I thought it looked really sophisticated and similar to the Vogue typeface. This was my attempt to merge the original style idea I had, with the more grunge style that I was developing. I really wanted to try to incorporate both styles and have them work together.
I think the clash of these styles really shows through on the cover page. I decided to make a cover page so that people could get a better sense of the magazine as a whole. On the cover, I used a picture I found on Unsplash, by photographer Daniel Adesina. I thought this photo was really cool and gave off the same vibe I wanted to encapsulate in my magazine. Then, I used Questa Grande and another font from Font Squirrel, Capture It 2, for the name of the magazine. These two fonts have very different styles. Questa Grande is the same font I used for my headings and it is a serif font and very professional. Capture it 2, on the other hand, is a san serif font and very messy. I thought this exemplified perfectly, the mood of the inside of my magazine.
After the final critique, I made some more small changes to my spreads. During this critique it was suggested to me to create some hierarchy in my spreads by dimming the colors everywhere else besides the headings. I thought this was a good idea, so I dimmed the color of the pull quotes, sub- headings and the other shapes on my page. I also had a suggestion to carry the stripes I had on my second spread into the first to create a more unified look. This is where I added the red stripes on my first spread. I also changed the stripes on my second page to be vertical instead of at a slant. I also added two photos on the side of my second spread. In my first spread I have a flipped photo and I thought it looked a bit out of place. Therefore, I decided to make it a theme, and so I added these flipped photos to the second page and also flipped the photo on my cover page.
Overall, I am pretty proud of my final outcome. Given where I was at the first critique, I feel like I came a long way and finally began to understand how to make my spreads look good. However, I still think I would want to spend more time on this project and perfect the style that I am trying to create. There are a lot more intricate details I would like to add to continue making this look like a unified magazine. Still, I think that I have come a long way in using the Adobe programs, even from the last project. It is becoming easier for me to be able to recreate my ideas with these programs and that is what I am most proud of.
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SPREADS
Photos by Cuauhtemoc Paz and Haley Kuhn
Font - Questa Grande https://www.fontsquirrel.com/fonts/questa-grande
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COVER PAGE
Photo by Daniel Adesina on Unsplash
Fonts:
Capture It 2 - Designed by Cpr.Sparhelt
https://www.fontsquirrel.com/fonts/capture-it
Questa Grande - https://www.fontsquirrel.com/fonts/questa-grande
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Creative Brief
My magazine is called “Culture”. Culture Magazine will center around mostly fashion however, it will also highlight interesting urban cultures around the US and the rest of the world. The fashion it will cover will be in season trends and new up and coming designers. My goal audience for this magazine is women and men between 18 and 35 years. This magazine will feature many articles, including one on the upcoming festival season and another on the culture of the city of Rochester.
For the color scheme of my magazine I chose to use complementary colors, teal and red. I chose these colors because I want it to be bold and I don’t want colors to blend together, making it look messy. I want this magazine to look very clean and concise to people trying to read it. I also chose these colors because they were neutral. I want this magazine to attract men and women, and these colors suggest that it could apply to either. For my font, I chose to use a modern looking serif font for most of my headings as well as the article text. I did this because I think it looks classier. The opposing sans serif, paint looking font, was chosen specifically for the article about festivals because I thought it went along with the more fun and creative style of that article.
I have already gathered some photos that I will be using for my articles. For the festival article, I mostly have photos taken on phone cameras from festivals my friends and I have gone to. Therefore, the pictures will probably have to be smaller in the article to keep their resolution. For the article on Rochester, I have collected a variety of photos from my friend who studies at RIT. These photos are very high quality and so can be blown up to a bigger size. Some of these pictures are black and white which I think will go well with the more serious tone of this article.
Overall, I want this magazine to have a clean, geometric style. I want it to be aesthetically pleasing so that someone who didn’t even know what it was would want to pick it up. I want my magazine to be informative and helpful but mostly, I want it to inspire.
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Research
Before I even started my research, I knew I wanted to incorporate fashion into my magazine because that is what I’m most interested in. I drew a lot of my inspiration from probably the most popular fashion magazine, Vogue. I liked how clean the spreads in Vogue looked and so from there, I started to research magazines with a similar layout. This is how I found Sucre Paper magazine. I liked the Sucre Paper magazine layouts because they seemed really modern and sleek. The rest of my sources are more layout ideas that I got from various design websites.
http://www.sucre-paper.com/
https://www.vogue.com/
http://www.charlotteheal.com/
https://www.designlisticle.com/magazine-layout/
http://indulgy.com/post/sJSLptxQY1/details-magazine-layout
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For this project, I chose Article 26, because I greatly value education. As Americans, everyone is granted a free primary education through public schools and most kids are in school. However, in other countries, particularly third world countries, many children don’t have the luxury to go to school. Instead, they have to stay home to care for their family or collect water or, they simply can’t afford it. After doing research on this topic I found that there are 4 million more girls than boys who don’t get an education. I found this fact alarming and so I wanted to focus on the importance of educating girls in my poster.
After getting feedback from my sketches I realized that I needed to present my point in a clearer way. Since I was specifically talking about girls in third world countries, I needed to make that evident in my poster, as well as clearly stating what the problem is to people who may not have already known. That is way I decided to use the widely recognized sign for female as the focus of my poster. It is also why I decided to include the statistic. Also, I chose to create rays in the background that would draw your eyes in towards the Venus sign. I consciously chose pink for their color because it is the color commonly associated with girls. I think that with all of these elements, I created a very bold poster that would stand out to people walking by.
I had the hardest time with the text in the middle of the Venus sign. I wanted to make the type vary in size and font and I wanted to make it look like it all fit perfectly in the center circle. However, after getting feedback from the critique, I realized that it wasn’t clear to people as to how they should read it. Therefore, I had to change it so it looked more organized and straight forward to someone who was trying to read it. To do this, I made each line of text going straight across instead of having some words higher than others. I also aligned the first part of text to the left and the second part to the right which gave it some structure. However, I still kept the varying sizes and font. To put emphasis on the parts that mattered most, I made the words a bigger size and made them bold. The number is the biggest part of the statistic, which represents that it holds the highest importance.
For the text stating the article, I chose to wrap it around the outside of the Venus symbol. Originally, I had this text in one of the pink rays, like it was coming out of the center. However, after the critique I found that having the text like this made my poster look off balance and awkward. Therefore, I moved it to the top arc of the circle.
Overall, I think this poster sends a clear message that advocates for human rights.
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Sketches
For my project I chose to focus on Article 26 of the Universal Declaration of Human Rights. This article states that everyone has the right to education.
I really liked the concept of the blank faces with “she” written across them however, after getting feedback on them, it was clear that they weren’t illustrating the point I was trying to make. The statistic on the other hand, that I had written in Venus symbol, seemed to really resonate with people, so I wanted to incorporate that into my final poster. I also liked the simplicity and bold nature of the Venus symbol and thought that would work well on a big poster.
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Recreating this poster was not easy. Mostly I think this had to do with the fact that I had never done a project like this on Adobe Photoshop, or had much experience with the program at all. However, it was also challenging because I had no exact idea of how the original creator of this poster, Saul Bass, made it. I also obviously, did not have access to the same tools as he did when he designed it. Therefore, my replication was going to come out a little bit different and I had to try very hard to make it look as similar as I could.
I think that many of the differentiations are because I used a digital platform that would have been much different from anything Saul Bass had access to. Making it on the computer like I did, in my opinion, gives the poster a much different aesthetic and style. One thing that I enjoyed so much about Saul Bass’ poster was its soft look. Nothing seemed very crisp and defined and I thought that was a very good look for the film it was portraying. However, creating this poster on the computer, where everything is much more exact, it was hard for me to recreate this look. For some areas I tried to underlay the color with texture to try to make it look a bit more fuzzy but it is still different.
When I first saw this poster, the simplicity definitely was interesting to me. I enjoyed looking into the metaphors and symbolism used in this poster, that gave away aspects of the film. It seemed very different from modern film posters and once I did some research on it, I came to respect its thoughtfulness.
I think that if I had more time with this project I would definitely do more to make it exact. Throughout this project I was only just learning everything that Photoshop could do. If I was able to spend more time with the program, I could learn more ways to make this replication look more like the original.
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Love in The Afternoon- Movie Poster
Designer: Saul Bass
Year of Production: 1957
This design was made for a film poster which would advertise the movie, Love in the Afternoon, produced and directed by Billy Wilder. With his designs, Saul Bass completely revolutionized film posters and the way movies were advertised. His designs had a very unique style that was minimal and clean. This style gave his posters a more sophisticated look that people appreciated. Before Bass, film posters were almost always film stills and paintings of film stills. The posters by Bass, on the other hand, hinted at what the movie was about by using subtle and abstract symbols. This clever simplicity is something that you don’t often see in movie posters today. For example, in this poster, made for Love in the Afternoon, the light and playful text suggests it is a comedy, while the delicate hand pulling down the curtain represents the mystery and secrecy of the girl in the film.
Although I cannot find how exactly Saul Bass created this poster, it is likely that he used photography. Photography was a fairly new advancement in the 1950’s that graphic designers were very excited about. With photography there was now a machine-made precision that you couldn't get by painting something by hand. Bass used sans-serif type, which was also very popular at the time and he likely used modular grids to structure and align his design elements. Printing posters was past the phase of woodblock printing, and instead used an offset method that could integrate photos into the poster design. Offset printing used etched metal plates to apply ink on paper, much more difficult than the digital printing we use today.
Works Cited:
Meggs, Philip B. “Graphic design.” Encyclopædia Britannica, Encyclopædia Britannica, inc., 3
Nov. 2017, www.britannica.com/art/graphic-design/Graphic-design-in-the-20th-century.
“History of Poster Printing.” PosterBrain Poster Printing, Poster Brain LLC, 2018,
www.posterbrain.com/printing/history-of-poster-printing/.
“The Genius of Saul Bass.” The Genius of Saul Bass |, 12 Apr. 2012,
tdylf.com/2012/04/13/the-genius-of-saul-bass/.
Pizzo, Fran Del. “Dial M For Movies: Films and Video Games.” (Some of) The Posters and
Credit Sequences of Saul Bass, Blogger, 1 Dec. 2017,
dialmformoviesblog.blogspot.com/2015/02/saul-bass.html.
Heller, Steven. “How Hollywood Butchered Its Best Movie Posters.” The Atlantic, Atlantic
Media Company, 31 Mar. 2011,
www.theatlantic.com/entertainment/archive/2011/03/how-hollywood-butchered-its-best-
movie-posters/73292/.
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