#New Typography Sketchbooks

[artleaguemdcnorth]

2D CLASS. FINAL ASSIGNMENT - BOOK & ALBUM COVER - (WEEK 5) 6/3/2024

Good Morning students, you have made it to final part of the semester.

We will have a virtual meet at 9:30 am. Please try to enter the chat ten minutes before.

This morning we will go over the last instructions to submit the Final Assignments for the semester.

In addition to completing the Final, students will also use this final week to resubmit works you feel need to have a grade revision.

Please use your time wisely.

The Final Critique will be on Monday 6/10/24 at 9:30 am.

Next week on Tuesday students will submit a Curated Portfolio following guidelines stated in a post I will add to the class blog on Monday.

The final assignment consists of  CREATING TWO WORKS OF ART ON TWO CANVAS BOARDS.

Students will choose their favorite of the following to create this final assignment:

1) A favorite book. 2) A favorite music band.

BOTH ASSIGNMENTS WILL REQUIRE THE following materials:

2 CANVAS BOARD   

16 x 20  (book)   & 15 x15 (album)

(one for each project)

Acrylic paints & Brushes

A) BOOK COVER

Imagine that an agent is hiring you to create a book cover. How would you approach this project?

What imagery can you create that can engage an audience to buy the book? 

If you were hired to launch Alice in Wonderland for a new generation what imagery would you create to attract readers of the 21st century.

During class this morning, start brainstorming ideas.

Think about the imagery you would use, as well about typography.

What lettering would best suit your concept.

How large or small should they be.

Do some preliminary drawings in your sketchbook .

Once you have zeroed in on your idea , begin the project.

Once you decide on an idea, begin working on the book cover.

B) ALBUM COVER 

Choose a favorite band.

Decide on the imagery to create an Album cover.

In the spirit of 70’s Album Art you will create your own original idea.

Research different ideas regarding Album art of the 70′s.

Create a few sketches and ideas in your sketchbook.

Once you have decided on a specific band, you will create a poster style Album Cover.

Final important points for this assignment:

You are free at the end of the semester, to use any style for this assignment. 

That means you can express your idea in any of the following styles below:

Representational imagery Abstract Non-Objective

You are creating a work of art with a specific purpose and function.

You need to think about incorporating typography (lettering)  accurately .

Language can not be an eye sore.

Words in this assignment need to complement the artwork not compete or win over the design.

At this point in the semester think about what you have learned.

Use that knowledge to create two amazing art works.

This is will be your FINAL Assignment.

All work with an artist statement is due at noon on SUNDAY, JUNE. 9th, 2024 by 5pm.

The Artist Statement is a self reflection on your art process.

What book and album did you choose and why?

How did you approach the project.

Finally close your statement by commenting how you feel about the outcome your project both the book and album cover.

This is a college level writing assignment.

NOTE: Please keep in mind that I need time to collect the work and create a Critique Blog for Monday's class.

Due date is non negotiable.

Here are examples from previous semesters:

A)

B)

C)

D)

ALBUM COVER

A)

B)

C)

DUE DATE FOR ASSIGNMENTS:

WORK SUBMITTED TO YOUR TUMBLR PORTFOLIO BY SUNDAY JUNE 9TH 2024 @ 5PM / ARTWORK AND ARTIST STATEMENT.

[ncon29]

2 Posters - Refinement + Final for Formative

"F I N A L" for now

Rationale: The state of the mental health care system in New Zealand is dire. People face many obstacles to getting the help they need, having to fight for lacking facilities and services. Accordingly, I aimed to convey feelings of disorder and frustration with my diptych. I made the letterforms fragmented and geometric, so that the composition is reminiscent of shattered glass. Negative space also gives the impression of an incomplete, broken system, with variation in type size suggesting haphazardness, and the bold font provoking a sense of urgency. The quotes are from Hiran Thabrew, a mental health specialist in New Zealand.

Introduction (v3)

My name is Neena Contreras and I have always been a creative, expressive person. As a visual artist, I am meticulous, versatile and curious. I try out every medium I can, such as linocut, painting, and jewellery-making. I also tend to hoard miscellaneous materials because everything has potential !

I like that communication designers have something to say. I love words and the way that intentional design choices can amplify the power that words hold. I have a passion for illustration, and I enjoy experimenting with typography and texture. I’m fond of impressionism, and I appreciate anything emotive or thought-provoking. My experience in design includes taking Design and Visual Communication, Photography, and Art Design in highschool. I have also done digital commissions and volunteer design for my local community.

I’m indecisive and conciseness escapes me, so I’m working on knowing when less is more and when more is more depending on the context. I want to use my sketchbook regularly, master watercolour, participate in Zinefest, create animatics, and make it all the way through Inktober. Some dream design opportunities would be book covers and merch. Currently, I’m navigating show design for a theatre club and contributing to the AUTSA’s Debate Magazine.

[jlonejacketwthe30out]

continuing HAND & EYE - research...?

(please don't mind me labelling things weird or incorrectly - this was a few months ago now💀)

i had the PLEASUREEEE of visiting the Beyond The Streets exhibit at the Saatichi Gallery at the same time this project was happening, so i treated it as some primary research ygm 😁😁😁

as a casual graffiti liker, this exhibit was SO eye opening in all the styles and influences present in it, as well as seeing its position in counterculture circles; its overlap with hip hop, punk and skater culture. made me wanna get out there and start tagging so bad 🛌🏾

continuing more graffiti based research independently, i took a look at the book Subway Art by Martha Cooper and Henry Chalfant. this book takes kind of a deep dive into street graffiti from 70's and 80's New York, highlighting the diversity of the style itself.

because of the nature of graffiti (being in places artists see as ideal, while most authorities don't think "vandalism" should be seen anywhere) the scenes in the book, as well as it being in New York, are all very industrial with a lot of space, but also nowhere extremely important.

train graffiti go crazyyyyyyyy so this definitely impacted my outcome! my independent work (as in sketchbook stuff) is heavily graffiti influenced so i was very happy to take this style into the project.

ART BY ROJAS @/IHATECIGS ON TWITTER

to further my research, i looked at typography by rojas on twt!! i LOVEEEEE their use of shape and colour so bad!!

[mw-designs]

How do you generate and evaluate new ideas?

Personally, it depends on what sort of work I am doing. In terms of graphic design, I start with research. I delve into all the different areas that are relevant to the topic, create mood boards, mind maps. From here it progresses into development.

I start off with simple, designs and concepts, to get designs down on the pages and ideas flowing. The first idea does not need to be perfect. It needs time to grow as I discover what does and doesn’t work.

For personal artwork, I spend time developing traits, discovering what style I like. There is less focus on producing as many ideas as possible, and more of just exploring, trying new things and drawing what I fancy. If I decided I wanted to sell any of these designs then I would use the approach I stated earlier, coming up with different layout options etc.

In terms of evaluation, I note the areas I do and do not like and what I want to include in further designs.

How are you influenced by others work?

My style is always influenced by others work. Over the years I have picked up different traits that I have liked in artists/designers’ work.

Recently I have been influenced by an individual’s artistic study I saw on YouTube. He filled a sketchbook by only drawing in a blue pen. I have never considered drawing like this and have always struggled to fill a book. It has encouraged me to draw regardless, no matter the subject, no matter what the final thing looks like. I am currently completing a black and orange study.

What are your inspirational sources?

I am inspired by a lot of different things and look to different areas.

Debut Art – Through this site I find a artists and designers all with wildly different styles. This is often the starting block for a brief and creating artists studies and mood boards.

Artbooks – I like to collect things, one of those collections are art books (often about other things I collect). When I am stuck for ideas or a spark of inspiration, I will look through them. These include “The Gorillaz art book”, “Spider-man into the spiderverse: the art of the movie”, “The art of Horizon Zero Dawn” and “Anime Architecture”. They are often good inspiration for layouts.

Social Media – I am not overly active on social media, but sometimes they can be a true spark of inspiration. I do not actively search these sites, but when they I am influenced by something I see on them its pure coincidence.

What are your methods of work?

Throughout my degree I have discovered I am more visual in my research. I like mood boards and mind maps, with simple and to the point evaluations and analysis. The reason for this is that it is easier for me to refer to my research, I do not need to skim large pieces of text to find the bit I need.

In a professional scenario you have far less time for research, so have a quick but well understood research is important.

How do you evaluate them?

When I am evaluating, I like to break it down into categories, layout, colour, texture, typography, description etc. From there I then explore the pros and cons of each section. This allows me to narrow down what elements I want to take forward into development and what I want to avoid.

[c-mccormick-svad-2022-2025]

(ARTS345) Project #2 Progress: Voting Poster Drafts & SkillShare Video #4: Ten Dangerous Ideas with Graphic Design Rebel James Victore

Week Six

Project #2 Progress: Voting Poster Drafts & Group Critique

Typography Used In Experimentation & poster Drafts:

This week, unfortunately, ended on a sad note. Yesterday, Columbia experienced the outer rings of Hurricane Helene, which was projected to make landfall in Florida on September 26th. Winds reaching 140 mph brought significant destruction, especially in rural areas near Perry, Florida. The storm caused widespread damage, including power outages, fallen trees, and flooding. It is moving inland, affecting several states such as Georgia, Tennessee, and the Carolinas, with the potential for dangerous flooding and additional storm impacts. In Columbia, students were required to attend class during this storm, as previous hurricanes have proven not to be as severe, and classes could easily be held if there is just a bit of rain. However, that was not the case, as the campus was practically flooded due to significant rainfall occurring all morning and into the afternoon/evening. I had class around 11:40, and I came to campus around 10:30 to walk to McMaster College on the far side of campus. My usual walking path to campus was flooded, so I needed to take a different route to McMaster. My shoes, backpack, and umbrella were all drenched. All the contents in my bag got soaked, including the four sketchbooks I use for my classes, including my Visual and Verbal design sketchbook. The cover was drenched, and all of the paper got soaked. I will likely need to purchase a new sketchbook for this class, which is unfortunate as I barely used the pages in this sketchbook that I hoped to fill with my ideas for projects. The main takeaway from this experience is this: Sometimes, you need to do what's best for you and not come to class, even if the school doesn't cancel it. It's better to be marked absent than risk getting all your materials, including your expensive computer and iPad, ruined in a rainstorm.

On a more positive note, during this week, I worked on creating drafts for Project #2 posters. I chose to use the letterpress printing design approach and selected a famous quote from Sharon McMahon as the main focus of the voting poster. I used a total of nine different typefaces to replicate the imperfect look of letterpress printing. I had the chance to see my classmates' designs and provide feedback on Basecamp. The majority of the group preferred Drafts #1 and #3. The feedback emphasized the following key points for my design:

Texture: Classmates liked the use of texture, especially the wood grain and paper backgrounds, which gave the design a handmade, letterpress feel. They suggested adding texture to the lettering to enhance the printed look.

Typography: The typography was considered visually appealing, dynamic, and fun. Splitting the colors between two hues was appreciated, but some suggested incorporating red to give it a more "American" theme.

Layout & Readability: The composition was well-received, with a strong hierarchy and easy-to-read text, but classmates encouraged experimenting with new layout variations.

Inspiration: Brad Vetter's work was mentioned as a relevant reference, suggesting I could draw more from his style.

Improvements: More texture in the lettering, incorporating red into the color scheme, and experimenting with new layout variations were commonly recommended across the critiques.

To sum up, I received positive feedback on the overall look and creativity of my design. However, I was also advised to explore texture and layout further to enhance the design. In preparation for the second round of group critique on Wednesday, I took my classmates' advice and delved deeper into the work of Brad Vetter, who greatly inspired my project. I studied his use of lettering and the layout of his poster designs. I chose to experiment with design #3, which was my favorite out of the three drafts I submitted for the first round of critique. I decided to incorporate more wooden textures to add interest to the piece. However, this made the words feel more separate and rigid, which was not the direction I wanted to take. During the second round of group critique, Professor Valdes encouraged me to push the boundaries and create a more authentic look by physically stamping words onto a piece of paper, scanning them into the computer, and manipulating the type. He also suggested printing out the poster, crumpling it up, and scanning it back into the computer to achieve unique textures. Taking this advice into consideration, I aim to enhance the overall design and make it resemble a letterpress printed poster by the next critique on Wednesday of next week!

Skillshare Video & YouTube Video: Ten Dangerous Ideas with Graphic Design Rebel James Victore Hosted by The Futur

Link to Full Video Interview:

In my ongoing exploration of James Victore's work from last week, I decided to delve deeper into learning more about him as an artist, creative, and his creative process. In the video titled "Ten Dangerous Ideas with Graphic Design Rebel James Victore," Victore is described as an author, artist, designer, and professional Hellraiser (that's a new one for me!). He is known for his provocative ideas and strong opinions, often dropping f-bombs from time to time during lectures and podcast interviews. His work is included in the permanent collections of museums worldwide. He is also a motivational speaker and creative coach. James emphasizes creating work that matters and encourages designers to make work so good that people want to steal it. This is kind of similar to how Professor Valdes wanted us to create work last semester that would cause people to want to steal it and hang it up on their walls!

In delving into Victorie's personal style and philosophy, he discusses how he sees himself as more of an artist than a designer, something I can relate to in my own design work! He prefers creating expressive work that captures humanity, drawing inspiration from artists like Robert Motherwell and Franz Kline. Victorie reflects on his early days in New York at the School of Visual Arts, where modernism was the dominant trend. He found modernism to be dull and lacking in expressiveness, similar to "pasta with no sauce." His style is raw and often crafted using simple tools like scissors and paper, showcasing his desire to work with his hands and maintain a tactile connection to his art.

When discussing the power of messages, Victore emphasizes that the power of design lies in what it communicates, not just in how it looks. He believes that focusing solely on aesthetics, such as kerning and typefaces, can diminish the true value of design, which is its ability to convey powerful messages. He thinks that designers often become too focused on making their work look polished and perfect, losing the rawness and human touch that connects with people. This is similar to how I feel about the voting poster project. I hope to create something that informs people about the importance of voting and registering to vote, rather than just creating something and being afraid to break the rules of design. Speaking of learning and breaking the rules, one of Victore's ten ideas is "Learn the rules, then break them." He believes that while rules prevent chaos, they can also stifle creativity. Rules such as "maintain the status quo" or "always be polite" may need to be disregarded if they hinder creativity and authenticity.

Being a designer in the industry often comes with the challenge of dealing with the fear of clients and money. According to Victore, the concern for clients and money is usually based on fear. When designers are afraid of disappointing clients, they end up compromising their work and missing out on the opportunity to find their own unique style. Victore believes that this fear results in a career of imitation rather than originality, leaving designers feeling frustrated and unfulfilled. While it's important to work towards bringing the client's ideas to life, there comes a time when we need to dedicate ourselves to creating work for our own fulfillment without fear.

When discussing perfectionism versus procrastination, Victore believes that perfectionism is a major obstacle for creatives. It can prevent people from starting, finishing, or sharing their work. He emphasizes that most of the details designers obsess over are not noticed or cared about by others. Designers should let go of perfectionism to allow their creativity to flow naturally. Taking action is important, as it is often an antidote to fear, overthinking, and perfectionism. By taking action, even imperfect action, designers can move forward and grow. Victore criticizes the tendency to consume endless self-help or design books without taking meaningful steps to improve one’s own work. He also believes that every designer already has a voice; it’s not something they need to “find.” Instead, it’s about embracing the weird, unique aspects of oneself that society or upbringing might have encouraged them to suppress. He talks about the vulnerability involved in truly embracing one's creative voice and putting out work that reflects who they are.

To stand out in the industry, Victore encourages designers to avoid following trends and instead create their own style. He argues that following trends leads to making everyone’s work look the same. He advises designers to find joy in their work and embrace their individuality. More importantly, Victore reminds designers that technology is not always the answer. While it can be a useful tool, it’s not the solution to creative problems. The real creative power lies within the individual. He encourages designers to rely less on technology and more on their own skills, ideas, and hands-on creative processes.

The key takeaways from this interview are as follows: The quirks that made you stand out as a kid are now the qualities that make you exceptional. Creativity stems from being vulnerable and authentic and embracing your unique perspective. Taking action is more crucial than waiting for perfection. Following trends or trying to please clients at the expense of your own voice ultimately leads to frustration. The ability to play and experiment is vital for sustaining creativity and preventing burnout.

[dlinarts245-03]

ARTS 245 Blog 4 (9/27)

Reading:

I was not really into this week's reading, I just didn't find it interesting or useful right now or to the new project that we were given. It felt just like an overview of text, how text changes throughout the years, and what designers do with text. How some books defined the purpose of typography is interesting, is it to enhance readability or help readers to avoid reading? The picture that shows a monk climbing up a page from a 13th century book to replace an incorrect line of text with a correct one in the bottom is creative and funny way to correct sentences back then, in my opinion. I also did not know how important spaces are, if spaces was not introduce during Ancient Greece, today sentences would be incoherent. There nothing else in the reading that I found interesting, there was something about text is better at describing a concept than an image, because text can be translated and be understood, which an image can't be translated universally.

Progress:

The progress for this week is that I finished the gray reading project, it was kind of fun to do. Last weekend, I drew thumbnails and brainstorm in my sketchbook of some grids that I would do for this project. I made sure that I could easily measure and cut my type, so I made all my dimensions in whole inch or half of an inch, and have even gutters so I am not dealing with fractions of an inch. I only printed out my cuts of magazines and newspaper on Monday, so I spend the evening of Monday of cutting my printed paper and doing my first two squares and gluing it on the white cardstock. I did my column grid and my experimental grid on Monday since there will be less piece to deal with and gluing down. Problems I have is that one of the margins of the column grid is not 0.5 inch I think and the diagonal gutter was not straight in the experiment grid as I mismeasured the pieces for it. Tuesday, I glued down my two white cardstock to the black Crescent cardstock, and then cut them. Unfortunately the black Crescent cardstock was hard to cut as the paper was layer thick, also with the fact that x-acto blade was dull. So after I struggled to cut the first square, I changed out my dull blade with another one, but it still was pretty difficult to cut the second one. Wednesday, I did my modular grid, and I think its perfect as all of the dimension are correct. I glue downed the grid onto the black Crescent paper and struggled to cut it again. I did gain some cut from pressing down on the back end of blade, that I didn't think would be sharp, to cut down the Crescent paper. I feel very good about my modular grid, and feel okay about my experimental and column grid.

[atlasifyllm]

🥊❤️🍎 for Cobalt

🥊 -What do they love to do? What do they hate to do?

I feel like I'm unsure if I can answer this question, since it's kind of his entire character arc to explore what he really wants to do with his life; even I'm not sure what his "Point B" is yet.

A more simplistic answer though; he enjoys doing typography in his sketchbooks, video games, collecting blades... but he hates specifically going to the airport. This is more of an item than an activity he hates doing, but he also hates rain. Rain and airports are sensory hell for him, poor guy 😭😭

❤️ - What is one of your OC’s best memories?

Once again I'm not sure if I can name anything specific due to spoilers (I want to do SUL as a cartoon someday, after all) but I think his favorite memories come from that brief period of time where he's officially dating Rina but before he starts getting worn down from his new tournament fighting career. It'd be the one era of his life where he feels on top of the world, getting the girl of his dreams and a career people can only dream of.

🍎 - What is the OC’s relationship w/their parents like?

Honestly, Cobalt has the healthiest relationship with their parents in comparison to the rest of the Paladins 😭😭

He started off as an "odd" baby, having the power of two entire souls within him; also blatant autism. His parents really wanted to make the best life for him since he's incredibly emotionally sensitive and gets overwhelmed by his own powers when he's a kid who barely has control over them!

I imagine in modern day he's moved out of his parents' place solely from getting lots of $$$ from his tournament fighting career, but his parents are always checking in on him, especially after his multiple near-fatal injuries.

[kellyriosperezworkinprocess]

3/29/24

When reading chapter 10 it was interesting to see how the case studies are able to combine different concepts of typography and mix them into one image that takes more than one glance to actually understand its full meaning. When looking at the case study for the New Year's poster it was interesting to see how many elements alone were used to showcase the sky from the star alignments to pictures of clouds and how the combination of religious symbols was also included. I was fascinated by Malinosk’s work where the combination of simplicity and boldness could captivate the attention of the people walking by. Were a lot could be said with a little.

This week has been interesting. I am currently sick and I blame my sister for it so I've had very little energy but I've been able to make great progress. When presenting my poster in class I felt iffy about the way I had drawn the grass, so I have gone in and redid it and changed the color of the letters for National Park. In order to create the letters, I had done an initial sketch in my sketchbook and had traced them over in illustrator, I'm glad about the way they look on my poster and have added the A I had missed in my poster presentation. I wasn't able to go to the National Park again due to the heavy rain on Wednesday, but I have audio of the storm outside that I will incorporate through the second half of the assignment. Now since I've captured the audio, I want to see what it would look like if I took my Stillwater background and create droplets of supposed rain as it enters the Congaree wetland. Currently for my final project booklet I have created a layout that I am not so happy about since it follows the first booklet, I made this template so I'm planning on redoing it all and seeing if I can come up with something better.

[shahrouzakhavan]

From Amateur to Expert: How to Achieve Pro-Level Graphic Designs in No Time

Graphic design is an assertive communication, marketing, and expression tool in the modern world. With the rise of social media, digital marketing, and online businesses, the demand for high-quality graphic design has never been higher. While many people are drawn to graphic design, transitioning from an amateur to a professional level can seem daunting. However, with the right approach and techniques, anyone can elevate their graphic design skills to a pro level in no time.

Understanding the Fundamentals:

Before diving into advanced techniques, it's crucial to have a solid understanding of the fundamentals of graphic design. This includes typography, color theory, layout, and composition concepts. Take the time to study these principles and experiment with different techniques to develop a strong foundation.

Mastering Design Software:

Proficiency in design software is essential for creating professional-level graphic designs. Adobe Creative Suite, including Photoshop, Illustrator, and InDesign, is an industry-standard software professional use worldwide. Invest time learning these programs' ins and outs through online tutorials, courses, and practice exercises. Familiarity with keyboard shortcuts and advanced features can significantly speed up your workflow and improve efficiency.

Embracing Creativity:

While technical skills are essential, creativity sets great graphic designers apart. Be bold, think outside the box, and experiment with unconventional ideas. Keep a sketchbook or digital journal to jot down concepts and brainstorm design solutions. Surround yourself with inspiration from various sources, including art, nature, architecture, and pop culture.

Developing a Signature Style:

Establishing a signature style can help you stand out in a competitive industry. Experiment with different design elements, such as color palettes, typography choices, and illustration styles, to develop a unique aesthetic that reflects your personality and creative vision. Consistency in style across your portfolio will help potential clients or employers recognize your work and build trust in your abilities.

Understanding Your Audience:

Effective graphic design is more than just creating visually appealing images—it's about communicating a message to a specific audience. Take the time to research and understand your target audience, including their demographics, interests, and preferences. Tailor your designs to resonate with your audience and evoke the desired emotions or responses.

Incorporating Feedback:

Feedback is a valuable tool for growth and improvement as a graphic designer. Seek constructive criticism from peers, mentors, or online communities to gain fresh perspectives on your work. Be open to feedback and willing to make revisions based on suggestions. Remember that constructive criticism does not reflect your worth as a designer but is an opportunity to refine your skills and produce better work.

Practicing Consistently:

Like any skill, graphic design requires consistent practice to master. Set aside dedicated time each day or week to work on design projects, whether personal or professional. Challenge yourself with new techniques and projects outside your comfort zone to continue learning and growing as a designer. The more you practice, the more confident and proficient you will become in creating pro-level graphic designs.

Building a Strong Portfolio:

A portfolio is your professional showcase and is essential for attracting clients or landing job opportunities. Curate a selection of your best work that highlights your skills, creativity, and versatility as a designer. Include a variety of projects, such as logos, branding, print materials, web design, and social media graphics, to demonstrate your range of abilities. Update your portfolio regularly with new projects and remove outdated or weaker pieces to keep it fresh and impactful.

Networking and Collaboration:

Networking is critical to success in the graphic design industry. Attend industry events, workshops, and conferences to connect with fellow designers, potential clients, and employers. Join online communities and social media groups to share your work, seek advice, and collaborate on projects with other creatives. Building a solid network can lead to valuable opportunities, referrals, and collaborations that can help advance your career.

Continuing Education:

Graphic design constantly evolves, with new trends, technologies, and techniques emerging regularly. Stay updated with industry developments by reading design blogs, following design influencers on social media, and attending workshops or webinars. Consider pursuing advanced training or certifications to deepen your knowledge and skills in specific areas of graphic design, such as motion graphics, UX/UI design, or 3D modeling.

Transitioning from an amateur to a pro-level graphic designer requires dedication, creativity, and continuous learning. By mastering the fundamentals, honing your technical skills, embracing creativity, and seeking feedback, you can elevate your design abilities to compete in the competitive world of graphic design. Remember to stay curious, practice consistently, and build a strong network within the design community to achieve success in your graphic design career. With perseverance and passion, you can turn your passion for design into a rewarding and fulfilling profession.

[k00295122]

The Manifesto workshop has added a whole new element to my 2D art. We focused on risograph zines for the first day. The professor started us off with asking a few questions about our projects and the direction we’d like to take it in. I wanted to have a tone that was interesting, dark and a bit funny.

My first thumbnails were creative and stayed on theme, but I didn’t find them to match the tone I was going for. I might revisit them, but I decided to keep pushing the idea of risograph for a more innovative approach that suited my style.

I had the idea to make a comic panel! It combined the text and typography element of zines with composition and illustrations. It also helped break down the composition into something I could understand better, as I have more experience with comics.

I experimented with a few compositions and went through my sketchbook for a topic that matched the theme. I ended up using the Fairy Mantis concept art as my comic panel.

Risograph detects the change in value of the drawing and puts it in monochrome, so I sketched my panel in yellow so the machine wouldn’t pick it up.

I focused on the lining and values of the panel, but I wish I had thought of fonts when doing the dialogue bubbles. I’ll redo that next week.

I only used highlights on the Mantis, so she’d stand out from the dark blue background.

When the printing began, I came across a problem- the pencil was too light to be picked up by the machine and the highlights weren’t aligned with the piece.

I think to make sure the values stand out next time, I’ll take a picture and put it into monochrome. To test how it looks before it goes into the machine. I’ll also tape down the highlight layer.

[nathandiary]

Week 6 breakdown:

Monday:

InDesign Workshop

tutorial with Chris: he told me to keep going and encouraged me in my projects. We both agree that the poetry book that was supposed to be side project is taking more time and space than initially planned. I think that I would have developed the magazine further if I wasn’t spending this much time on the poetry book but as long as the magazine is complete with all the sections I initially planned I’m ok with spending more time on the poetry book.

I finished the underdrawings for 3 comics and they are ready to be inked

Tuesday:

Rest day. I’m a lot more tired lately, I think I have been pushing myself too hard (and winter isn’t helping)

Wednesday:

Research into typography and graphic design. I am struggling to find resources on typography that are not always about the same basic principles.

I watched some Elliot Ulm videos which made me want to do some quick posters just to try new things. I ended up making a series of illustrations with little characters saying things (more or less interesting). I liked making them and how they look together so I’m going to keep exploring that, maybe make screenprints of them.

Thursday:

Art history research day. I went to the library and looked for sources for my essay on 1860s periodicals. I found 3 sources and I started writing the introduction of the essay.

Friday:

Printmaking day: I photocopied the designs for the linocuts from my sketchbook and used red iron oxide (?) powder to trace them onto the lino. All 10 designs are cut and ready to be printed in the folios. I printed two of them. After I am done printing them all, I will start with the letterpress part of the book.

I had a tutorial with Flora who really enjoyed my project and encouraged me to keep working on it.

Goals for next week:

Ink the comics that are ready

Do the back cover comic underdrawing

Do Graphic design and layout for the ‘how to finish a painting’ article

Be halfway through art history essay

Print more linocuts

[hbelcherarts246-01]

Reflection and Progress Blog Post (Week 5)

The recent textbook pages discussed important typography concepts like kerning, tracking, line spacing, and alignment. These concepts involve adjusting space and alignment to make text more visually pleasing and clear, and they boil down to two main goals:

1. Finding the right balance between negative and positive spaces in letterforms, and

2. Purposefully rotating text for the desired visual effect, while maintaining readability and balance.

When I was sketching, I started to implement the former of these two general concepts by trying to balance negative and positive spaces. I did this by focusing on adjusting any protruding parts of letterforms (positive space) and occasionally replacing them altogether. I also fixed tight gaps (negative space) by widening or closing them until it looked intentional. To be honest, at first, my sketching felt a bit aimless, but once I found this approach, it became more organized.

As for the concepts of rotated text and vertical alignment, I don’t think I’ll include completely vertical alignment in my final letterform, but I plan to at least use rotated letterforms to build it. They provide a lot of interesting shapes, and I wish I’d created more sketches that utilized alignments beyond horizontal/vertical. Unfortunately, I was sleep deprived while working, which meant that it wasn’t until much later on in the sketching process that I realized I could rotate my sketchbook. I was feeling stuck until I discovered this crazy new concept, gave me a fresh perspective to work with for the last few sketches.

As I move on to digitizing and vectorizing my designs, I hope to apply these typographic principles more efficiently and with better craftsmanship.

Selected Sans Serif Font— Futura (Above)

Selected Serif Font— Baskerville (Above)

[maiaszecket-grad604-2023]

W8 - Activities

Task 1: Categories

TOOLS IN MY CREATIVE PRACTICES - Things I use to create

Crochet Hooks

Hands

SLR

Point-and-Shoot

Yarn

EARLY INSPIRATIONS FOR DESIGN AND CREATIVITY - Initial exposures

Archie Comic

Get Your Shit Together

Vase

Poem Tag

TESTING - Different mediums and methods

Trinket Tray

Sketchbook

Domino

Dried Flowers

SETTING THE SCENE - My environment

Apple

Earphones

Tea Bag

Laptop Sleeve

PERSONAL IDENTITY ITEMS - Things that make me me

Humpty Dumpty Necklace

Rings

Never Let Me Go

Task 2: Typology

What do your current categories tell you about the elements contained in them?

I think there is an aura of sentimentality within my items. For example, my category about inspirations is not just general inspirations, but rather my very first exposures to design from when I was younger. Also, my personal items are each special in their own way.

What underpins your categorisations? Are the elements grouped by a key characteristic, material or medium – or something else? e.g. typography, fluid type, poster design, etc?

I created my categories based on how I came up with my objects - with the idea of creating a toolkit. What are the literal tools and materials I need to make design? What are the things that allow me to be creative? Etc...

What do you these categories tell you about your selection methods, influences and biases?

I tend to want to choose items that look random and unassociated to each other at first glance. However there are always connections, for example several of my items are linked to a time where I was living in Canada before I moved to NZ.

What might these categories tell you about you as an individual, and your design practice?

I design with my family in mind. Everything I know is because of how I was raised, and the kinds of cultures that informed my family life. These things trickle into everything I create.

When seen together, what story do these elements and their categorisation tell an audience?

At first glance, the elements look random. Once reading the descriptions, however, it is clear that there are several deep connections between objects, and how some an only exist with the others. People also say that intentionally making something look random is one of the hardest things to do, so that must say something about how these objects came together in the first place...

Task 3: Overall approach

Does your re-examination of typologies and approaches to classification suggest changes? Do all the elements fit in one category? Should they? Is this coherent or is  it limiting?

I believe I have done well in categorising my elements. As I was sorting them, each decision came quickly, and if it didn't, I made a new category that consecutive items also naturally fit into.

Does a category need be added? Or removed?

5 categories might be a lot, so I might revisit this in the near future. However, it is working fine for now (why fix something that isn't broken?).

Are there blind spots in your selection, editing or approach?

The only element I am worried does not clearly fit into its category is Dried Flowers into Testing. Although I have a rationale behind it, it may not be interpreted correctly by a viewer.

Task 4: Graphic system

Is the graphic system coherent? Overall, would it make sense to someone with no knowledge of you, your design work and chosen elements?

Is it effective?

Is it efficient?

Is it clear, concise and compelling?

Is it the most appropriate design solution for your selected elements, and categories or classifications systems? What other graphic systems could you research and experiment with?

Does it speak to your preferences and strengths as a designer? 

Does it take a unique approach to the assignment reflective of you as an individual?

Yes. I have incorporated my ideas about 'versions' and 'collections', which have led me to the design decision to remove the literal items from my poster, and replace them with 20 similar crocheted shapes that better communicate the idea of a cohesive collection working together to represent one concept or philosophy. This is pushing the boundaries of the brief, but I believe my rationale is strong enough to back this decision up.

How does it create appropriate connections with relevant creative communities? 

[bristefreelanceservice]

Designing Smarter: Graphic Design Tips for Newbies

Are you eager to get your creative juices flowing and start a career in graphic design? Well, you've come to the right place! Designing smarter is all about crafting visuals that people respond to and relate to. If you're a newbie, it's important to learn a few design tips to get you started, and this article will equip you with some great advice.

1. Unlocking the Creative Potential of Graphic Design

Tap Into Your Imagination Graphic design empowers creativity and encourages designers to combine art and technology in order to make beautiful, meaningful designs. It gives room for designers to think outside the box and unlock their full creative potential. Graphic design allows ideas to come to life and creates a new level of communication to engage audiences. Through fine-tuning visual elements, designers are able to transfer messages that accurately express a brand's style. To make powerful graphic designs, designers need to tap into their imagination and think of innovative concepts. Whether it be website design or a catalogue layout, the possibilities are endless. To give life to an image, designers have unlimited resources and resources to utilize, such as: - Colors - Textures - Typography - Composition - Design Elements These components come together to form a final product that can have a strong positive effect on a brand's identity. By using these resources, designers can convey their original vision and effectively engage customers. The creative potential of graphic design is found in its ability to create something that stands out and transforms design into an art form.

2. Essential Tips for Designing Like a Pro

Designing is an integral part of any business' operations. Whether it's creating promotional materials for a product launch or designing materials for a company event, getting the design just right is a crucial step. Here are some essential tips to help you design like a pro: - Choose an appropriate style – Choosing a style of design that is appropriate to the intended purpose is essential. Avoid using overly complicated or flashy designs unless the purpose is to stand out. - Articulate your goals and objectives – Establishing your goals and objectives when designing helps to inform the creative process. Don't be afraid to articulate your needs to your designers and explain your requirements in detail. - Select colors carefully – The colors you select for a design are a crucial part of the overall aesthetic. Select colors that will stand out and create a cohesive design that communicates the message effectively. - Keep it simple – Many designers are tempted to go overboard with design elements. Avoid unnecessary complexity and keep the design clean and minimalistic. - Test the design – Testing a design is essential to ensure consistency across platforms. Don’t forget to test the design on different devices, resolutions, and browsers for the best results. - Optimise for various audiences – Some audiences respond better to certain design elements. Make sure to tailor your design to the target audience and optimise it accordingly. Don't forget the basics – Without the basics the design process can quickly become overwhelming. Make sure to break down complex design elements into smaller, achievable tasks and remember to pay attention to the details.

3. Unleashing Your Creative Vision Through Design

Designing something creative can seem like a daunting task, but with the right tools and techniques, you can unlock and unleash your creative vision. Here are some tips for bringing your creative concept to life. - Start Small: Start with a small canvas, such as a sketchbook, and work out the basics before jumping to a large project. Brainstorm the concept and story-board the design to start. - Define Your Vision: Establish the purpose of the project to stay focused on the goal. Visualize the end result that you’d like to achieve, and commit to finishing. - Do the Research: Gather enough info and inspirations for the project that you’re working on. Be aware of current trends and relevant pieces in the design community. With the right attitude and knowledge, you can take any creative project in your hands and bring it to life. Understanding your strengths and weaknesses as well as being open to suggestions is the key to creating something truly unique. Dive in and get creative – your vision will thank you.

4. Enhancing Your Work with Visual Storytelling

Narratives drive your brand story and are a powerful tool for marketing your product or service. By incorporating visuals into your storytelling, you can foster a deeper connection with your audience. Visual storytelling allows you to craft a captivating, universal story – one that resonates with your target market. When done right, visual storytelling will help you stand out in the sea of competitors. Start by identifying the stories you want to showcase. From there, sketch a context and narrative that comes to life through visuals, fonts, and colors. Utilize a variety of mediums: - Videos - Illustrations - Photographs - Gifs To ensure the purpose of your visual story is conveyed, you should be as specific as possible.Keep it interesting and memorable, and when possible, focus on adding photographs as lead images. Lastly, if the story requires it, include a strong call-to-action to further engage your readers. Designing smarter doesn't have to be daunting, especially when it comes to graphic design. By keeping these tips in mind, you can confidently begin to design smarter and create attractive and professional graphics that you can be proud of. Best of luck as you embark on your journey to creating smarter graphics. Read the full article

[jasmine604]

W3. 20 Credible Sources P1

Sources on Specific Techniques and Crafts (5x)

“Computational Long Exposure Mobile Photography”

Type: Research Article in JournalKey Words: Long Exposure Photography, Motion-Blur, Panning Photography, Mobile PhotographyBrief Summary: Source discusses how motion-blur and long exposure photography can be achieved through mobile devices. Reference: Tabellion, E., Nikhil Karnad, Glaser, N., Weiss, B., Jacobs, D. W., & Pritch, Y. (2023). Computational Long Exposure Mobile Photography. ACM Transactions on Graphics, 42(4), 1–15. https://doi.org/10.1145/3592124

2. “Billy Apple, Typography and the Embodied Word”

Type: Journal Article Key Words: Billy Apple, Typography, Modernist Typefaces, Exhibitions Brief Summary: The article discusses the modernist typefaces Billy Apple used in detail with explanations/analysis behind the why. Reference: Curnow, W. (2016). Billy Apple, Typography and the Embodied Word. Journal of New Zealand Literature (JNZL), 34.2, 171–211. http://www.jstor.org/stable/44066253

3. “Travel Photography: Portrait of a City Neighborhood”

Type: Linkedin Workshop Key Words: Travel Photography, Documentation, City Photography, Workshop, Tutorials Brief Summary: Workshop by Mikel Allan a photographer who shares his techniques on travel photography with a focus on cities.  Reference: Aaland, M. (2013). Travel Photography: Portrait of a City Neighborhood [Linkedin Workshop]. In Linkedin. https://www.linkedin.com/learning/travel-photography-portrait-of-a-city-neighborhood/introduction-to-the-city-trip?u=43761236

‌4. “24 x 36”

Type: Documentary Key Words: Movie Posters, Illustrations, Timeline, 60s, 70,s 80,s 2000s, screen-printing.  Brief Summary: Journey through the highs and lows of movie posters, why, how, where, what?  Reference: Burke, K. (Director). (2017). 24 x 36 [Streamed]. Kanopy.

5. “Screenprinting : the ultimate studio guide from sketchbook to squeegee”

Type: Book Key Words: Screen-printing, materials, t-shirt printing, squeegee  Brief Summary: This book shows a revival of screenprinting, offering clear presentations of both basic principles and advanced techniques. Reference: Higginson, F., Higginson, K., & Stallard, R. (2017). Screenprinting: the ultimate studio guide. From sketchbook to squeegee. London Thames & Hudson.

[dirtybarn]

Harry Wright Discovers Meaning in Form and Shapes

Sheffield, United Kingdom-based designer Harry Wright is specialized in motion, illustration, typography and also various fields of design. But his perspective on form and shape sets him apart from others. Harry Wright's style in his work could be described as doodly, goofy, and cheerful because his approach to his designs is not serious and uptight. However, they convey their message and feeling through motion and colors. Making doodles in childhood is common for many people, but taking them seriously and progressively working on them is another level. Some people find a way to express themselves in this process, either keeping their doodle styles or venturing into new mediums through doodles. Harry Wright states his works and the visual universe which comes with them as his sketchbook. This sketchbook absorbs different mediums, such as hand-drawn motion, illustration, typefaces, branding, packaging and more. That enables him to be recognized from afar. Wright says, “I always try to find meaning in form; there’s something magical about starting with something and seeing it deconstruct, grow, morph and transform into something else.” to It's Nice That. This journey takes the observer along with it and enables them to experience the process too.

Harry Wright is a designer by day and by night

Harry Wright has two identities that change from day to night, and both of them, unsurprisingly, are designers. He has many personal projects, the client works, and a clothing brand called Other Side Store, which focuses on graphic tees, hoodies, accessories and other apparel. And lastly, we can quickly tell some things about Harry Wright's personality from his works, which are playful, friendly, clever and have a lot of humor. Discover more about Harry Wright from his website, Behance and Instagram accounts.

Images: harrysdesigns.com Read the full article