Thursday, 20 November 2014
Tuesday, 11 November 2014
OUGD404 Brief 1 - Negative Space
Negative Space
"Negative space is, quite simply, the space that surrounds an
object in a image. Just as important as that object itself, negative
space helps todefine the boundaries of positive space and brings
balance to a composition."
These two examples have used negative space for effect, in-particular
the elephant is my favourite the use of the mouse (which carves the
feet out) is clever due to the link with elephants being a afraid of mice.
Another example would be the use of negative space and the word
linking together for example.. The giraffe.
"Negative space is, quite simply, the space that surrounds an
object in a image. Just as important as that object itself, negative
space helps todefine the boundaries of positive space and brings
balance to a composition."
These two examples have used negative space for effect, in-particular
the elephant is my favourite the use of the mouse (which carves the
feet out) is clever due to the link with elephants being a afraid of mice.
Another example would be the use of negative space and the word
linking together for example.. The giraffe.
In the study session we were briefed to pick a word and then using
negative space to create an image/number etc that would represent
the word in turn making the word look like the object, I chose 'BEAR'
I have just used the space in the letter B to create a teddy bear figure
I have played with spacing aswell as colour if i am to develop this
further I would play around with different typography
Tuesday, 4 November 2014
OUGD404 Brief 1 Icons/Symbols
Icons/Symbols
Brief: To re-design the 'Fire exit' sign by Yukio Ota, In a group.
Definitions:
ICONS - To represent a certain object etc..
SYMBOLS - An accusation with a object, place, action etc...
For example
Icon
Symbol
Original Design
Once in our group we decided first things first is to start a mind
map on what is necessary for a fire exit sign/icon. We decided
to take a light and humorous way, Some essential content were
as follows:
- Fire.
- Door.
- If coloured possibly red/yellow to connote danger and a fireman.
- Fireman putting out the fire (sexy one)
- We felt that women were left out of the original design so this
would be good to incorporate.
We felt the next step was to all design what we felt would best
describe fire exit after 30 mins share with the group and calibrate
the designs.
Our initial ideas...
Our Developed ideas..
ICON
we felt this was a detailed description of what the group
wanted for the icon. A doting fireman coming to your
rescue.
At the end of the lesson we looked at each others designs
some very successful, but overall as a group we realised
that actually the fire exit is a very good piece of graphic
design and while we could re-design it, it is very good already.
We should of probably questioned this when being briefed.
Brief: To re-design the 'Fire exit' sign by Yukio Ota, In a group.
Definitions:
ICONS - To represent a certain object etc..
SYMBOLS - An accusation with a object, place, action etc...
Icon
Original Design
Once in our group we decided first things first is to start a mind
map on what is necessary for a fire exit sign/icon. We decided
to take a light and humorous way, Some essential content were
as follows:
- Fire.
- Door.
- If coloured possibly red/yellow to connote danger and a fireman.
- Fireman putting out the fire (sexy one)
- We felt that women were left out of the original design so this
would be good to incorporate.
We felt the next step was to all design what we felt would best
describe fire exit after 30 mins share with the group and calibrate
the designs.
Our initial ideas...
Our Developed ideas..
ICON
we felt this was a detailed description of what the group
wanted for the icon. A doting fireman coming to your
rescue.
SYMBOL
'Follow the firewoman'
At the end of the lesson we looked at each others designs
some very successful, but overall as a group we realised
that actually the fire exit is a very good piece of graphic
design and while we could re-design it, it is very good already.
We should of probably questioned this when being briefed.
Monday, 3 November 2014
OUGD404 Brief 1 Colour Theory
Colour Theory
Our group was dedicated to red, We started by organising our
colour into dark to light, to show the variety of red tones.
We then went back into our groups and labeled our colours to
match pantone.
Our group was dedicated to red, We started by organising our
colour into dark to light, to show the variety of red tones.
We then organised the reds into warm and cool order, we placed
the warm colours in one circle and the cool in the other. (warm
- red, orange.) (Cool - red, blue.)
We then switched tables (yellow) to organise their colour theory
wheel to join up to be infinite, we started by placing the light yellows,
then the normal yellows and finally the dark tones e.g. gold.
Towards the end of the lesson we collated all the colour groups
and created a circle of colour theory interlinking all the colours
as clearly and fluently as possible it helped me recognise which colours
would go next to each other, it went red, blue, yellow...
We then went back into our groups and labeled our colours to
match pantone.
Wednesday, 22 October 2014
OUGD404 Brief 1 Anamorphic Type
Anamorphic Type
" An intentional distortion with
several panels to create a 3-D Letter
from a certain viewpoint."
To dissect our chosen letter into sections big enough for us to
make an anamorphic representation, We as a group multiplied
the letter by 10, to make it on a larger scale making it visible.
This was a good experience in team building it was very
difficult to place the shapes of the letters in the right segment
of ceiling it took a number of times to get the shapes level and
co-odernating with each other when looking at it through the view
finder.
This is the final result, on the
top is the result from looking at
another angle as opposed to the
view finder as you can see it is
almost un-recognisable until you
look through the view finder, I
think if we were to do this again
as a group we would choose a
different typeface as we found it
was hard to manipulate when
hanging.
Channel 4 have also taken this idea of anamorphic type for
their adverts this is really effective, In the advert it is unclear until
it reaches a certain angle.
https://www.youtube.com/watch?v=Xx8XsthXsSw
" An intentional distortion with
several panels to create a 3-D Letter
from a certain viewpoint."
To dissect our chosen letter into sections big enough for us to
make an anamorphic representation, We as a group multiplied
the letter by 10, to make it on a larger scale making it visible.
This was a good experience in team building it was very
difficult to place the shapes of the letters in the right segment
of ceiling it took a number of times to get the shapes level and
co-odernating with each other when looking at it through the view
finder.
This is the final result, on the
top is the result from looking at
another angle as opposed to the
view finder as you can see it is
almost un-recognisable until you
look through the view finder, I
think if we were to do this again
as a group we would choose a
different typeface as we found it
was hard to manipulate when
hanging.
Channel 4 have also taken this idea of anamorphic type for
their adverts this is really effective, In the advert it is unclear until
it reaches a certain angle.
https://www.youtube.com/watch?v=Xx8XsthXsSw
Wednesday, 15 October 2014
OUGD404 Brief 1 - Fast and FAST how we read type
FAST and fast
How we read type?
The way we use type is really important as the way it is shown
effects the emotion we connotate with it, for example when you
see italian written like this:
Italian
it appears lingual, foreign and fancy.
when you write italian like this:
ITALIAN
it seems powerful, loud and impacting.
the way the type is seen directly informs the way you read it
making it really important you chose the right design for the
right word and feeling you want to come across.
http://www.scrappingthemagic.co.uk/s2g/scrappingmagic/italytitle2013jolees.jpg
http://media-cdn.tripadvisor.com/media/photo-s/02/d7/0c/fa/ninos-italian-restaurant.jpg
How we read type?
The way we use type is really important as the way it is shown
effects the emotion we connotate with it, for example when you
see italian written like this:
Italian
it appears lingual, foreign and fancy.
when you write italian like this:
ITALIAN
it seems powerful, loud and impacting.
the way the type is seen directly informs the way you read it
making it really important you chose the right design for the
right word and feeling you want to come across.
http://www.scrappingthemagic.co.uk/s2g/scrappingmagic/italytitle2013jolees.jpg
http://media-cdn.tripadvisor.com/media/photo-s/02/d7/0c/fa/ninos-italian-restaurant.jpg
OUGD404 Brief 1 - Lonely Hearts - Task 1
Lonely Hearts - Wanted!
" I am an uppercase B in helvetica light, I'm sleek, sexy and
curvy in all the right places. Im looking for an outgoing serif
that will show me a good time. I like long walks on the beach
and eating in modern restaurants.
Contact: Easy to find."
According to Helvetica's Lonely heart ad, which typeface is best suited?
" I am Gill Sans! I am a curvy, sleek, geometric letter. I am
possibly looking for a sans serif letter but a serif would be fine!
Im also looking for a lucky letter who doesn't mind my one ear.
You'll find me on the TV I work for the BBC."
" I am Franklin - Bold but suitable and unique with quirks.
I am looking for a serif typeface - Light weight and uppercase,
who likes trips to the opera and expensive dinners."
Both of these typefaces have things in common with Helvetica's
ad for example Franklin likes expensive dinners out and well Gill
sans wasn't overall picky!
What if these typefaces had a baby!?
Hybrid Letter, kept the sleekness of
helvetica, the ear of gill sans G, and
the boldness of Franklin.
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