#and i was thinking about making them subconsciously imitate each other's design elements

[vermintine]

hi

[dycousins]

Twitter Fiction Final Evaluation

1. A lot of what initially informed and inspired my designs was what I discovered about each of the stories, and wanting to do each of them justice. I was also heavily influenced by the twitter format and wanting to experiment with that.

After my first layout attempts, I looked more into how I could make my design more fun, for lack of a better word. The subject matter had so much potential for excitement and intrigue, the stories were for the most part told in such a unique way and I wanted to harness that. I looked to Pete Fowler for his eccentric art style and unorthodox animal mash-ups for the fun I needed to make the layouts come to life.

When it came to the actual layouts, I used what I had seen over the other projects, as well as all of the information I have taken in subconsciously over the years. For this project specifically I looked into two specifically targeted articles, both with their strengths and weaknesses so that I could compare and adapt what worked.

2. As soon as I started working on the illustrations and imported them into the editorial, the work developed very quickly, going from blocks of placed text and temporary placement boxes of colour to signify an image to an actual editorial that just needed some tweaking to get it right.

The ideas behind the design never really changed all that much. I knew I wanted the colour scheme to be minimal, like that of Twitters, mixing the official colour of their logo with white and occasional light grey to add some depth.

The most notable developments were in the actual illustrations, the change in perspective of the tweet and how that made it change in appearance; the phone and thumbs image; and lastly, the most frequent change: the boxes.

These changed and developed so as to better serve the purpose of the editorial, but also in order for me to attempt to create a better experience and imitate a twitter format, showing the mobile and website versions, and separating text into boxed out sections so that it is read in small bites, restricting the reader  to create suspense in much the same way the twitter fiction, and twitter itself, did.

3. At first I had some problems managing my time and keeping up, mostly because of the amount of time it took to get the original tweet illustration up to a standard I was satisfied with.

However, once I got into the flow of things, and got a handle on each part of the editorial and got my ideas straight in my head, it was easy for me to keep up-to-date and on top of everything, making sure I had made significant progress ready for each tutorial.

4. Feedback in this project was something I was really eager to receive, this came mostly from being unsure on what I had done, and wanting and needing to know whether it worked or not.

Sometimes I would be satisfied with what I had done but would have missed something, so the feedback meant I could fix it, while when I was worried about an element, I could receive confirmation that it worked, or when it didn’t, how to fix it.

5. In this project I strayed away from my usual mistake of getting stuck on one area and going at it until it works, meaning the rest of the final product would suffer from less attention. Instead, this time I let stuff go, intent on progressing the entire project over one part of it. This method allowed me to get a complete idea of what I had done, and then allowed me to go back into certain spreads and layouts that needed altering to edit them.

This method meant that I spent most of the project going in and editing little pieces, so that it came together quite quickly.

I was better in this project at trying out other options in layout, colour etc, but I acknowledge that there is still room to improve in this area earlier on in a project, where it is worth taking the time to note down and sketch a wider set of ideas.

6. I have learnt a lot more about the possibilities of storytelling, as well as the benefits of combining different styles of layout in a longer article. This came from looking at two articles that embraced either end of the spectrum of dynamic and simple, and came off worse for it.

I’ve definitely learnt a better approach to working, as well as a number of layout and typographic techniques, and how InDesign can help to make some of them easier to fulfil, consistent hang lines being a notable one.

7. I could probably continue to edit and change my editorial forever, every time I look through it I can think of another option for something that is worth trying and changing the layout to accommodate.

I am happy with my final result, though I know it could be improved, especially with more practice and the skills I will have by the end of the course, if I were to come back to it at that point.

If I was to go back now to improve my outcome, I would want to see how a different style of illustration would change it, I chose digitally made, accurate and perfect images over more creatively imperfect options like paint or those we experimented with in the illustration workshop.

I like my illustrations as they are, but I would be interested to see how a different image-making style would change how I felt about the outcome.

[todaybharatnews]

via Today Bharat Nani is playing a serial killer in this film which will release directly on Amazon Prime Video on September 5. One of the biggest direct OTT (Over-theTop) releases in Telugu so far, V is all set to release this Saturday on Amazon Prime Video. Starring Nani, Sudheer Babu, Nivetha Thomas and Aditi Rao Hydari in the lead roles, the film is a neo-noir thriller with heavy emotions and drama, as director Mohana Krishna Indraganti describes it. The film has Nani playing a psychopathic serial killer, while Sudheer Babu plays a celebrated cop on a mission to chase him down. The pandemic disrupted the initial plans of an Ugadi release in March. After a long wait of five months, V is now releasing on Amazon Prime Video directly. TNM spoke to the filmmaker — whose works include the widely popular Ashta Chamma and the more recent film Sammohanam — about the challenges of making a violent thriller, writing intelligent women characters, the decision to have an OTT release and more. Could you tell us about the aesthetic influences and references for V? What kind of a vibe can we expect from the film? Two genres that have always fascinated me, the film noir of the American cinema of the ‘40s and ‘50s, and also the French noir that Jean-Pierre Melville and others have championed and mastered. I was also a big fan of ‘70s Hindi cinema which very interestingly captured the conflict between systems. If you look at films like Deewaar, Trishul and Don, they were always about police versus gangsters or criminals, law versus crime. Usually you have two protagonists, each representing one, like Amitabh Bacchan and Shashi Kapoor (in Deewaar). I always wondered how it would be to blend these two genres: the visual style in terms of the noir look, of dark edges and brooding style, coupled with these really powerful emotional exchanges; the dialogues, the dramatic scenes, and personal and family conflict. To Sudheer, I said, look at Brad Pitt (from Fight Club). I don’t want a muscular police officer, I want someone lean and athletic. Similarly, I told Nani to look at films like No Country for Old Men, where Javier Bardem did the role of a psychopath, or Keanu Reeves’s role in The Watcher or Kevin Spacey’s role in Se7en. I told them to watch all these guys not to imitate them, but to see how differently each actor was approaching the part. To the character of a killer, they’ve added their own texture with their performance. Beyond what I’ve written on paper, Nani has added his own interpretations and created a certain texture to the character. Much of Nani’s look in the film is the result of a lot of brainstorming. Sudheer Babu similarly did the same, he lost a lot of weight, he became leaner, he studied a lot of task force police officers. So we approached the film with a lot more seriousness than a regular mainstream film, where you would just go and create some mannerisms, and try to create some sensational image. We may be doing a nice popcorn film, but it's also a very meaningful popcorn film. I wanted it to be an emotional experience, not just people fighting and having sound effects and action. It’s very carefully designed. Even for cinematography, we had a lot of references. My cinematographer Vinda and I — we started our careers together — would watch a whole lot of films that we like, and we always wished we could do something like that. We’ve tried to pay tributes to all those films through V, through the lighting, design and costumes as well. There’s a lot of hype around the fact that V is Nani’s 25th film, and his third film in your direction (after his debut film Ashta Chamma and Gentleman). It’s also your 10th film. What has changed for you both since Ashta Chamma? I started off as a small filmmaker with very few means to make movies. I was trying to do low-budget and medium-budget movies, and to adjust my aesthetic and ambition to those limitations. Although I believed I could do all these things earlier, I could not do it because of lack of resources etc. Of course with these challenges and restrictions, you grow as a filmmaker. As I grew, more producers started approaching me for my kind of films. My budgets increased, my audience increased. I could bring in whatever I learned in my filmmaking training abroad, because now I have the money, the resources and the audience. Nani started off as a very shy but very ambitious and very creative kind of an actor, when he debuted with me in 2008. He made enormously risky choices, he challenged himself at regular intervals, he did all kinds of offbeat films in spite of commercial pressures. He has also grown and created an enormous fan base for himself, and people now look forward to Nani’s films In all my films, I tried to change the genre. But V is of a genre I always wanted to do, which is a giant leap for me from what I've been doing till now — because the scale is bigger, the risks are higher, the actors are bigger, the budget is big. What were some of the challenges in making V? The most important thing is the genre — it is dark and violent. I’ve never dealt with violence, it is not necessarily my favourite emotion. Unless I feel really compelled to incorporate it, I’ve never used it in my earlier films. But this film is violent by nature, it has to deal with violence So dealing with violence on a day to day basis is very challenging for me, as a director. And for the actors also, I am sure it’s not a very pleasant emotion to deal with it on a day to day basis. We have to deal with blood, murder and all kinds of psychotic elements, which kind of challenge you as a person emotionally. Shooting the film was also very difficult because we were shooting for a lot of nights, there were a lot of action and stunt sequences that the actors had to take risks for, which they went ahead and did. But they were all very tense affairs because we had to be very sure that nothing happened to them. Your films are known for having well-written female leads. Could you tell us about the women in V? I take great care in representing women because I am very fond of women-driven stories. V is probably a more male-driven film compared to my other works, but Nivetha (Thomas) and Aditi (Rao Hydari) are central to the plot. Their screen time may be less compared to both the male leads, because the film is about two men fighting each other. But it’s also about how these women bring meaning to their lives, and bring perspective to the conflict , instead of making it simply about two macho men brainlessly beating each other up. The presence of these women in their lives gives them a certain perspective, a certain purpose, a certain sense of meaning. How that happens is something you have to see in the film, but it’s very important that the women in my films play not just an eye candy part, they have to contribute to the narrative. How do you ensure that you write meaningful women leads? I try to do my homework. I am also surrounded by extremely brilliant women in my own household, my mom is a writer, my wife is a PhD. Most of the women I know, my friends and colleagues, are more educated and more well informed than I am, and I constantly learn from them. Subconsciously, all that admiration I have and my friendship with them, what I learn from them, seeps into the way I write women characters.Their mischief, their sense of humour, the way they make fun of some of the stereotypes that mainstream cinema perpetuates, all of that I try to write into the dialogues through these women. You'll see that in the opening scene of V, with Nivetha and Sudheer, where Nivetha says what kind of a woman she is. I obviously have to research and consult, but when I write, I don't think it’s a conscious effort. It seeps in naturally. I would be mortified if I ever wrote an unintelligent woman. Could you tell us about the decision to release V on OTT? What changes were made from the theatrical release version of the film? We dreamed about a theatrical release and so we did things a certain way, we lit it in a certain way … But these are extraordinary times and we have to make the best possible choices. We didn't want to kill the excitement around the film by waiting indefinitely. We also realised that a lot of people want good entertainment now. Besides, we had no clue as to how long we had to wait. There was no clarity, so we thought we’d go for it. To approximate and to bring this (OTT) experience closer to a theatrical experience, we tried to tweak the visual a little bit grading wise, we tweaked the sound, we tried to create a little more surround as much as we could, from 5.1 to stereo. We tried to give our best approximation, to bring the Atmos experience to OTT. And when we tested with different devices and different environments, we were very happy. We also looked at the least ideal to ideal environments to watch a movie: what if I am watching it on a phone in traffic, as opposed to a proper home theatre setup. We tried to find a middle ground to the entire spectrum, to give the best possible visual and aural experience to the audience. Could you talk about your literary influences? Are you considering any adaptations from Telugu literature for your future projects? I believe that it's essential for a filmmaker to be acquainted with other art forms, to be well read, to know about dance, theatre, music, painting, photography. Cinema is an amalgamation of all these art forms, and our exposure to these art forms will give us a sense of yardstick of excellence.To hone my skills as a director, writer, and a creative person, I feel all filmmakers must have a very close relationship with literature and other art forms, but especially literature because it is very close to cinema. I would like to adapt the popular novel Chivaraku Migiledi by Buchi Babu, and also Saptabhumi (by Bandi Narayanaswamy, which won the Sahitya Akademi Award in 2019). There are a few more, like one short story by Kodavatiganti Kutumbarao, for which I had written the script. All these are there in the pipeline. I have to find the right funding and the right atmosphere, the right cast and crew to do it, but I'll do it eventually.

[startupproduction]

Your Logo is the Core to your Brand

Successful and effective logo design is a rather complicated task because logos are the core of your brand, the heart and soul of your marketing direction. Our company has designed dozens of logos over the years, and of all the variety of design projects, logos are the most labor intensive. Time, effort and a lot of planning goes into logo design because they should say so much with simplicity and unforgettable style.   So what makes a good logo?  Why do some logos stand out from the crowd and create an great first impression of your business and why do others fail at making any impression or worse yet a negative one?   There are a few key elements that should be considered before you start envisioning your new logo. Your logo should be simple, transferable, unique, meaningful and conveys your company’s personality. Sound easy, right? Let’s discuss these in more detail ….

Great Logo Design Ingredients

  I. Simple:  The design and layout should be uncomplicated and uncluttered. Try to keep your logo to two to three colors without gradients or shadows. The image should be clear, understandable and easy to understand (like the Apple logo to the right). If you use an abstract or rather obscure image that needs to be explained before its significance is made clear, than you may want to rethink it.  As with your marketing approach, keep your message simple and engaging, so the same goes with your logo.  Make sure the message is simple enough to be understood and remembered.  If your logo includes verbiage, make sure the font is not overly fancy or hard to read.   II. Transferable:  Think of your logo on a business card, on a poster, on a billboard, on your letterhead, in a print ad, on your website and embroidered on your employees’ polo shirts. How does it look on each format?  Does it transfer well from very large to very small applications? If printed in black and white, on dark or light backgrounds, does it stand out and is it still recognizable? If overly complicated and cluttered, it will look messy and unreadable when shrunk to a business card or print ad.

How will your logo look in various medias?

  III. Unique: Some say this is nearly impossible to design something truly unique, but it takes thinking out of the box to come up with a design that is original to your industry.  Don’t imitate your competitors or go for the obvious.   “The Mercedes logo isn’t a car. The Virgin Atlantic logo isn’t an airplane. The Apple logo isn’t a computer,” David Airey, a graphic designer and creator of website Logo Design Love says.  For example, having a hammer or the shape of house has been done over and again in the construction business so its time to think outside of the box.   IV. Meaningful:  A great logo is memorable when it tells a story, whether hidden or obvious, about your business. So much can be said about your brand from your logo’s design with shape and color, even if your logo is text based. For example, the Fedex logo use bold colors and a bold, readable font of the abbreviation of the original name of the company, but what you may not notice is the hidden arrow pointing forward.  The arrow  symbolizes the speed and reliability of the courier service.   Color selection also can convey subconscious meaning as well, a quick look at the Psychology of Color:

Red: energetic, sexy, bold, power, passion, love, aggression, increases appetitie

Orange: energy, balance, and warmth.

Yellow: sunny, optimism, hope or warmth.

Green: nature, health, organic, financial success, calming.

Blue: trust, security, order, and cleanliness.

Purple: spirituality, mystery, royalty, pride

Black: stability, credible and powerful

White: simple, clean, pure

Pink: feminine, fun and flirty

Brown: rural, historical, steady

  Our company’s logo has several hidden meanings:  first, it illustrates the elements of the company’s name Startup, which is a “star” with an arrow embedded in it pointing “up”. The green arrows illustrates financial growth moving upward, as a result of our services, and the black star conveys the idea of standing out among the crowd with great design.   V. Conveys your Company’s Personality:  Your logo’s style can also do much to convey your company’s personality and engage your target audience.  The Toys R Us logo conveys colorful, fun, playfulness and creativity that appeals to a young audience and easier for them to recognize.  On the otherhand, the Sony’s VAIO logo appeals to techie geeks, where one side represents analog technology and the right side is a 1 and 0, which is the binary code of computer processing.

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  To see our company’s portfolio of original logos, see our website.  If you need help designing a new logo or rebranding your company’s identity, we can help you develop a logo that creates a successful & lasting impression.

What makes a Good Logo? Your Logo is the Core to your Brand Successful and effective logo design is a rather complicated task because logos are the core of your brand, the heart and soul of your marketing direction.