dingprudhomme

[dingprudhomme]

1. Informal Balance: While the image is busy, the major elements are largely balanced in the ad. The toucan is offset by the bowl, the Kellogg’s logo by the three banners, the two small areas of text on the left by the two on the right. The “Froot Loops” logo, one of the largest elements on the page, is mostly centered.

2. Diagonal lines: The “Froot Loops” logo and the toucan’s body and arm are drawn diagonally in the frame, indicating motion.

3. Quadratic color scheme: The four loops used in the “Froot Loops” logo--green, purple, orange, and blue--are spaced quite evenly around the color wheel. Many other colors are used throughout (nearly a rainbow scheme, in fact), but I suspect these were carefully chosen since they’re in a prominent position.

4. Psychological color: The background of the box, which makes up the largest chunk of overall color, is a deep, solid red, an exciting hue that appeals to children.

5. Curvilinear lines: Almost all the elements on the page are curved, including the toucan, the bowl, the tree, and of course the loops themselves. Even the “Froot Loops” text is slightly arched.

6. Illusion of Space: The toucan’s nose and arm appear to jut towards the viewer by becoming larger. Additionally, the bird casts a slight shadow against the red backdrop, and some vines and leaves peak over the top of the logo to obscure parts of the frame.

7. Texture: The loops are enlarged to show a bumpy, crunchy texture, in contrast with the smooth cartoon-y feel of Sam, the leaves, and the letters.

8. Idealism: All the cartoon elements are tightly controlled, of course, but even the cereal is presented in only its best light. The bowl of loops is perfectly mixed, with no two loops of the same color touching. The milk is splashing just right, and there are no broken or chipped bits.

9. Volume: The image is largely created from three dimensional imagery. Related to illusion of space above, almost every element is presented with depth instead of being flat. In addition to the toucan (mentioned above), the bowl, logo text, tree, falling loops, and even text frames appear to pop off the page.

10. Illusion of Motion: The four loops on the right side of the ad appear to be falling into the bowl. While it lacks the obvious motion markers (blurriness, motion lines, etc.), the splashing milk provides a clue. The loops are all in different positions, as though they’re tumbling end over end on their way down.

[dingprudhomme]

Project 3 Final

This series of high-key, somewhat macro photos was created by photographing white ceramic objects against a white background. I’m using a chromatic gray color scheme, and the illusion of space is created entirely through the use of shadows. The focal point, the pair of circles in the lower left photo, is created through a change in value; they are the only deeply black element in the set, and they are placed on a third-line.

My intention was to create two high-key, white-on-white images and two low-key, black-on-black images. After searching my home, and raiding the local Goodwill, I wasn’t able to find any suitable black objects. Instead, I paired my existing coffee cup with some white thrift shop finds: a cream server, a gravy boat, and a salt-dispensing Scottish Terrier.

The bulk of the project involved adjusting Speedlites and reflectors by tiny amounts to eliminate unwanted shadows and accentuate the curves of the ceramic bits. Below is an example of the setup.

[dingprudhomme]

M14 Ad Analysis

Found at: https://www.creativebloq.com/inspiration/print-ads-1233780

While the photo shows two related ads, I believe these would normally be printed on two seperate pages, thus I’m analysing just the left side as an independent work. Most points, if not all, would also apply to the right.

1. Symmetrical Balance - The colorful bottle outline is centered, as is the text at the bottom. The two pieces of text at the top balance each other. The two faces meet nearly in the middle, and each take up a similar amount of space.

2. Focal Point through Variation in Color - The focal point is the rainbow bottle, which is being treated as a frame to draw attention to the kiss. The colors have a neon glow, and create a focal point by variation in color (rainbow vs skin tones) and value (much brighter than the surrounding areas.)

3. Texture - The two faces both show a lot of detail in their facial hair, indicating the ads show two men kissing. The left form seems soft, while the right appears stubbly.

4. Monochromatic Color - The bulk of the ad (excepting the focal point; see the next bullet) is created through different values of brown, including the skin, facial hair, and background.

5. Psychology of Color: Cultural Meaning - The outline of the bottle is created by using a rainbow color scheme, which has been adopted and assigned cultural meaning within the LGBTQ+ community.

6. Quality of Line - The lines that make the bottle appear to be made of light reflected from the surface of the faces, as though the outline is being projected onto the models. The colors bleed very slightly onto the skin.

(6a. Outline - Related to the quality of the line, the bottle is created by showing the contours of a bottle rather than an actual bottle itself.)

7. Curvilinear Compositional Lines - While the bottle has straight sides, the interest from the iconic Absolut shape comes from the curve into the neck. Also, the lines of the faces are all curvilinear, following the shapes of the noses, lips, and chins.

8. Diagonal Compositional Lines - The bottle appears to be tilting, lending a little potential energy to the ad, as though it’s being tipped to pour a drink.

9. Realism - The two kissing figures may be touched up, but it’s not noticeable. Instead, great clarity is given to the facial hair and stubble. The person on the right has a “five o’clock shadow,” and freckles (and a slight blush) can be seen on the person to the left.

10. Illusion of Space - While subtle, some depth can be determined in the ad. The thumb in the foreground covers a bit of beard, and the right nose is somewhat obscured by the left mustache.

[dingprudhomme]

M14 Project Sketches

I attached some extension tubes to my camera and went macro hunting. I originally intended to shoot organic forms like leaves, bark, flower petals; instead, I found a world of interesting texture and color in other materials. Wood grains, metals, plastics, and barley all created unique images, some of which can more easily be made abstract than others. I was caught by a series of yellow objects in particular, which I intend to follow up on.

Illusion of space can most easily be made through depth of field in these macro photos. Controlling the depth will be challenging, as the extension tubes I’m using don’t allow me to control aperture. In order to capture large swaths of color, likely a single photo will contain the focal point for the series.

I attempted a few simple shots of a white object on white background to create lost-and-found contours. To walk this path, I’ll need a variety of solid white or black objects, and lots of time to finagle the studio lights. I’d like to arrange these 2x2, creating a checkerboard of light and dark should I shoot both. Illusion of space will likely be created through shadow. I’m undecided on the best method to create a focal point.

[dingprudhomme]

Final Project 2: Texture Composition

That’s No Moon

The focal point is created through a variation in color (red vs brown) and texture (smooth, flat cloth vs rough wood grain). The structure is primarily built from pallet wood, partially sanded to lighten the weathered boards. Black nails were added, dense near the edge, becoming more sparse as they approach the focal point. In addition to adding depth to the piece, lighting from an intense angle creates dramatic shadows.

I encountered several small setbacks along the way, as is the nature of building anything untried and untested. Some issues were of my own making (creating a router jig that would sever its own pivot point), and some were due to the materials being used (pallet wood is flimsy and chips easily.) In trying to use found materials, I applied my cloth to some corrugated plastic; this backing material was far too pliable, but I stuck with it regardless. Some of my boards split when hammering in the nails, so I had to glue them back together, sand them down again, and pre-drill all the remaining holes.

On a positive note, I’m very happy with how clean of an outer circle I was able to make with the router. Sanding the boards gave them lots of wonderful color variation, transforming them from a drab grey into a multitude of browns. Overall, the project ended up looking very much like I intended.

Below are a few more progress shots, and some photos of my abandoned project idea.

Below is progress of one of my other ideas. I loved the texture of the grain, but ultimately the project was doomed. The backing board was too flimsy and the adhesive too weak, resulting in grain chipping off the piece when hanging vertically. I used black caulk to create lines between the layers, but the depth of the grain covered it up. The idea has merit, but I would need to start from scratch to make it viable.

Below is a little Easter egg hidden in my completed project.

[dingprudhomme]

1. Disassemble pallet with reciprocating saw. 2. Glue and nail object boards to backer boards. Let dry overnight. 3. Create router jig for circle cutting. 4. Cut circle out of pallet boards with multiple passes. 5. Adjust router jig for small inner circle. 6. Cut inner circle, then realize jig will fail when anchor board is severed. 7. Clean up inner circle with jigsaw. 8. Hammer in a few nails. 9. Realize weathered boards are too dark to see nails. 10. Remove nails. 11. Roughly sand boards to brighten the wood. Bonus!: More variety in wood color and value. 12. Reinstall nails. Realize nails will cause wood to split. 13. Apply glue to split boards. 14. Begin to pre-drill all nail holes. 15. ...Tomorrow.

[dingprudhomme]

Project 2: Progress Shots

The photos above relate to my first sketch, inspired by layers of mountains. I rummaged through several bags of grain (in the jars) and ordered them by color. I found that several are too close in color and value to differentiate, leaving me with six that have enough variation for my project.

I spread some sample grains over a printout of my sketch, and added some metal pipe to get a sense of scale. I think the layers may require separation, almost like an outline, as the colors of grain fade too much from one to the next. I’m also concerned how well the grains will adhere and stay mounted to the surface.

I didn’t like my second sketch, and decided to eliminate it. I’ve added a new idea, seen above. The large circle would be constructed of pallet wood. Screws or nails would be driven into the planks, dense at one end and becoming more sparse as they approach the inner circle. The focal point would be created by a change in color and texture. The inner circle would be cut out from the planks, and a recessed piece of cloth mounted behind.

Below is a sample I created to test if the idea was tenable. Given the similar value of the screws and the wood, I may try black screws or painted wood instead.

[dingprudhomme]

Session 11 Ad Exercise

Found at: http://www.adweek.com/brand-marketing/worlds-17-best-print-campaigns-2013-14-158466/

This is one of three ads in this series created for Henckels knives. The focal point, the blade of the knife, is created through a change in value; the overlapping fillets create a darker patch of orange than the surrounding area. The ad is symmetrically balanced: the fillets are almost mirror images of each other, and the handle of the knife is centered on the page. The ad is largely monochromatic. Though the text is black on white (and a small splash of red exists in the tiny logo), the image relies almost exclusively on different values of orange. The bulk of the fillet is a very light orange (verging on pink), the veins a darker orange/brown, and the overlapping section a deeper amber. The image is somewhat idealistic. The fillets are thin and perfectly cut, there are no blemishes, and the pattern made by the veins is perfectly rhythmic. The ad makes use of the Gestalt principle of seeing the whole before the parts. The viewer should first see the shape of the knife, then recognize that it’s composed of two fillets and a block of text.

[dingprudhomme]

Project 2 Sketches: A

This sketch was inspired by layers of mountains. The background would be created from various materials like grain, sawdust, and wood chips, and gradually change from lighter to darker materials working down. The four rings would be made of metal pipe, and--in a nod to integrity--the focal point made from a pipe flange.

Project 2 Sketches: B

For this idea, the background would be created from swatches of scrap fabric, much like a small quilt. The four outer points fall where a golden spiral meets the edges; the focal point is similarly situated on a point of golden proportion. The multi-colored square would be made of painted wooden blocks of various heights. The edge placements could tie to the focus based on color or material, though I haven’t fully made a decision yet.

Project 2 Sketches: C

This project has a round focal point where two boards meet. One board would be sanded smooth, the other stressed and pock marked. The first and third quadrants would have a background of fabric, while the second and fourth would be composed of grain and hop leaves, respectively. All quadrants would then be covered with wire or fencing. The composition of the focal point is yet to be determined.

[dingprudhomme]

Final Project 1

[dingprudhomme]

Session 10: Texture

Found at: http://seoclearwater.com/creative-print-ads

Wood has a texture everyone is acquainted with, and the target market of a power tool ad would have a more intimate familiarity. Running one’s fingers across a finely sanded board would yield a smooth, naturally warm feeling. This ad uses a macro lens that shows normally imperceptible details in the grain: separations and ridges above the screw, a possible splinter just above center, and tiny bumps throughout.

Other elements include:

1. Curvilinear lines. The wood grain creates an impression of deep valleys on the left, and the swirl of wood layers into the screw create the perception that the drill is so powerful it can bend the grain altogether.

2. Rule of thirds. The focal point of the screw is positioned very near the third mark both horizontally and vertically.

3. Focal point through variation of form and color. The brown, flat, organic layers of wood grain are interrupted with a sharp, silver, man-made screw.

Session 10: Texture

Found at: https://www.adsoftheworld.com/media/print/sharpie_apple

Crumpled paper is a classic, chaotic texture, filled with creases that may make the viewer want to lay the page flat and smooth it out.

Other elements include:

1. Focal point through change in color. The apple is six different, vibrant colors, contrasting the strict black and white that’s found throughout the rest of the page.

2. Quality of line. The apple outline, arrows, and text on the page are all hand-drawn, giving the ad a human quality and demonstrating the product itself.

3. Informal balance. The apple, centered, provides most of the weight in the ad. There are are textual elements to both the right and left of the focal point. Although the left is outnumbered two-to-one (and the word “Sharpie” lends its weight to the winner), the ad doesn’t feel particularly tilted toward the right.

Session 10: Texture

Found at: https://www.adforum.com/creative-work/ad/player/34498070/the-son-of-man-by-rene-magritte/lego

I’ve always been fond of LEGO; it was my single favorite toy as a child, with only my bike giving it a run for its money. I’m delighted to now find so many LEGO ads that exhibit so well the principles we’re studying.

The hard plastic bumps of this Magritte recreation make me nostalgic. Although most LEGO creations would be decidedly more three dimensional, even this flattened masterpiece makes me want to run my fingertips over it.

Other elements include:

1. Symmetrical balance. The apple-faced man is perfectly centered in the image. The only other unique elements are the LEGO logo and the word “IMAGINE” which balance each other from the right and left, respectively.

2. Integrity. The IMAGINE and LEGO areas aren’t simply text added over the top of the image. Instead they’re treated like bricks, a 1x3 and a 2x2, which are integrated into the image rather than being an afterthought.

3. Abstraction. The image is presented in simplified form and color, and appear impressionistic, an effect of the limited size and pallet available when working in a LEGO medium.

[dingprudhomme]

Session 9: Shape and Volume

Found at: http://www.adweek.com/brand-marketing/worlds-17-best-print-campaigns-2013-14-158466/

This Jeep ad relies on a very distinct shape to capture the viewer. The shape can be viewed in one of two directions, and the animal the viewer sees will change as the page is turned upside-down.

Other features include: 1. Symmetrical balance. The left and right halves of the page are almost mirror images of each other.

2. Isolation. The primary component of the ad is a single shape, centered on the page, with almost no other elements nearby.

3. Curvilinear compositional line. The overall shape of the image, as defined by its outline, is curvilinear. The ad contains little in the way of strong horizontal or vertical lines, but relies on curves to create the ears/flippers and body/face. The curve is even echoed in the tagline, offering a bit of integrity in the ad.

Session 9: Shape and Volume

Found at: http://www.adweek.com/brand-marketing/worlds-17-best-print-campaigns-2013-14-158466/

This ad for Rothhammer is an example of idealism, showing an idyllic lakeside picnic setting. The scene is rather natural, though cleansed of any detracting elements. The grass is perfectly manicured, the water calm with light rippling, and the setting sun creating long, golden-hour shadows. Even the picnic blanket is placed just so.

Other features include: 1. Symmetrical balance. The two main figures are placed just on opposites sides of the center line. The row of gun wielding men contains one center, with two on either side. Two men flank the aforementioned row, one on either side, and each commands a similarly-sized dog. The greenery of the trees creates a framing element in both upper corners, and even the picnic basket is balanced by the carafe of juice.

2. Regular rhythm. The five long guns create a steady, rhythmic pattern by being equally spaced.

3. Focal point through change in form and color. Though the scene contains nine people, the couple on the blanket creates a focal point. The men in the background all wear dark suits, while the pair in front don more colorful attire. There is also a change in form as all the men standing contrast with the relaxed shape of the sitting couple, shown shorter and with limbs bent.

Session 9: Shape and Volume

Found at: https://www.adsoftheworld.com/media/outdoor/espn_shoemaker

This ESPN ad shows an example of realism. While every item in the scene is likely placed with intention, the image captures the look and feel of a true repair shop. Surfaces are oily, machines old and outdated, papers stacked haphazardly. The man's shirt has grimy marks, and a hint of a tattoo can be seen on his arm. The set is made to look like a real, working shoe repair business.

Other features include: 1. Focal point through change in color. The television creates a focal point, though more through a change in brightness than strictly via color. Most of the scene is dimly lit; even the fluorescent bulbs lighting the workspaces barely glow. The TV stands out by creating a bright, vibrant square. The ESPN logo on the screen draws attention by being one of the only red elements on the page. (Overall, though, I find the TV somewhat overshadowed as a focal point. The man and the shoe he holds are seen more immediately due to their size and position in the foreground.)

2. Integrity through color. Several colors are repeated throughout the composition: the green of the machinery on the left is also found inside the drawer and near the pipes on the right; yellow on a container's label is repeated inside the shoes, on items near the tools, and on a cloth on the left; the white of the man's shirt is found on price tags and buffing cloths; an overall drab brown is found on the walls, boxes, and the worker's clothing.

3. Size communicating distance. The image makes heavy use of depth. The man is the largest object in the frame, indicating that he's near the viewer. Hand tools on the back bench appear small, showing a very precise distance (perhaps 10 feet) between the foreground and background elements. This helps to show that the TV, situated about halfway back, is actually rather small.

[dingprudhomme]

Session 8: Finalizing Sketch

I’ve moved the bulk of the structure down so the focal point created by the intersection falls on a third. I think adding thick outlines to the circles adds interest, and helps set apart the circle at the focal point.

[dingprudhomme]

Session 7: Revision - A, Revision 1

Session 7: Revision - A, Revision 2

Session 7: Revision - A, Revision 3

Session 7: Revision - A, Revision 4

Session 7: Revision - B, Revision 1

Session 7: Revision - B, Revision 2

Session 7: Revision - B, Revision 3

Session 7: Revision - C, Revision 1

Session 7: Revision - C, Revision 2

Session 7: Revision - C, Revision 3

Session 7: Revision - C, Revision 4

[dingprudhomme]

Session 7: Line in Advertising

Found at: https://www.canva.com/learn/print-advertising-ideas/

This ad shows a strong compositional line. The single, thick, black line denotes heavy weight. The rounded red area gives definition to the black trunk, indicating that it’s a cylinder rather than a two dimensional object. Being horizontal, we see the tree is at rest--in fact, permanently--rather than upright, indicating signs of life (and potential), or diagonal, which would indicate movement as the tree is falling.

A tree, as an object, could be illustrated many ways: young and dainty, full of creatures and life, or flowing as the wind blows through its leaves. Here, the artist’s choice of using a strong, well defined line is purposeful. You can almost feel the THUD as it hits the ground.

Session 7: Line in Advertising

Found at: https://dxb402lookseecritique.wordpress.com/2015/08/27/week-3-semiotics-2/

This anti-smoking ad makes use of a gestural line to evoke an emotion. The smoke forms a noose not simply by outlining a rope, but by gradually turning from a thin wisp into a knotted structure. The noose itself warrants an emotional reaction, which is echoed in the quality of the line as it thickens into a tangled mass. The model’s gaze is even fixed on the knot, creating a psychic line to the focal point.

Session 7: Line in Advertising

Found at: https://www.canva.com/learn/print-advertising-ideas/

This Ikea ad is a classic example of using continuation to lead the viewer to the focal point. As readers start at the top, they’ll quickly recognize the familiar flowchart of a family tree. At the end of the rightmost branch they’ll find a tagline and the brand’s logo.

While there are two branches that find an end, I think it’s important that the logo is on the right rather than the left. As in reading, viewers will naturally start on the left and finish on the right. Once a viewer finds the end of the left route, they’ll backtrack to the junction and start down the path of the right.

[dingprudhomme]

Session 6: 10 Sketches #1

Session 6: 10 Sketches #2

Session 6: 10 Sketches #3 This is one of my favorite ideas, but I’m not sure the two large shapes create a clear focal point.

Session 6: 10 Sketches #4

Session 6: 10 Sketches #5 I think this one could become more refined by making the lines thinner, while also enlarging the biggest dripping blob.

Session 6: 10 Sketches #6

Session 6: 10 Sketches #7

Session 6: 10 Sketches #8

Session 6: 10 Sketches #9 I like this idea, though it might be difficult to translate to the board due to the repeating straight lines. I’m concerned anything with such defined repetition will look untidy.

Session 6: 10 Sketches #10

Session 6: 10 Sketches #11

Session 6: 10 Sketches #12

Session 6: 10 Sketches #13 I believe this falls under the “radial focus” category, thus won’t be selected. I created many of these before I had all the details, but wanted to include it anyway.

Session 6: 10 Sketches #14 I feel this could be improved by using more intense curves, and making the island larger.

Session 6: 10 Sketches #15

Session 6: 10 Sketches #16

Session 6: 10 Sketches #17 I like the 8-bit video game feel this created.

Session 6: 10 Sketches #18 The inspiration for this sketch was a bookshelf with one fallen book.

Session 6: 10 Sketches #19 This has become one of my favorite ideas, as it resembles planetary orbits. It started with a radial theme, but I was able to break out of it and put the focal point elsewhere.

[dingprudhomme]

Session 6: Balance in Advertising

Found at: https://fromupnorth.com/creative-advertising-559-b616909df135

This ad for Crossword Bookstore in India shows strong symmetry in two directions. The book appears to imitate lips, a highly symmetrical feature of the human face. The horizontal symmetry is more defined, while vertical symmetry is created with the reflection.

Session 6: Balance in Advertising

Found at: http://www.superpunch.net/2010/01/lego-minifig-shadow-triumphant-chess.html

This ad for LEGO, made by Ivan Puig, is an example of asymmetry. The considerable size difference between the small figure and the large shadow causes much more visual weight on the right side of the image. (It’s also a great metaphor for a child’s imagination being much larger than the toy itself.) I find this image could lean towards an asymmetrical balance, with the red logo providing heft on the left, but I don’t think it’s enough to overcome the gargantuan nature of the minifig’s shadow.

Session 6: Balance in Advertising

Found at: http://theawesomedaily.com/29-creative-ads/

This subway installation shows asymmetrical balance. The white foam created by the lapping waves creates a natural line that flows vertically through the image. Similarly, the footprints offer a line of their own, and provide equal substance on the right. The passengers line both sides in nearly equal numbers, reinforcing that the sides are proportionate. Forgiving the slightly offset nature, the change in color from water to sand creates a natural division between the two hemispheres.