Visiting the final years summer show was really insightful, the way the space had been used was really interesting and complimented the contemporary work wonderfully. I really enjoyed seeing the variety of work on show and the range of projects /styles/ outcomes actually surprised me as I wasn’t quite sure what to expect from a graphics exhibition.
I liked this work due the how slick and clean the design of both the poster and accompanying booklet, I think both were considered and carried out with real care and attention to detail. The work illustrates the stages of genocide and i think works really well at communicating a difficult subject. the limited colour palette works really well I think and adds to the visual strength of the piece.
This work really intrigued me as it explores the differences and similarities of more traditional visual communication techniques (screen print) and more digital ways of working, the posters are what first caught my eye and the video accompanying the posters was really interesting to watch and showed the process of creating the work which i think is a really interesting thing to show an audience as it can be the most important part of a piece but the viewer rarely gets to see it.
I really liked the idea behind this piece and thought it was really clever, it has also been completed to a high standard and really looks as though it could be part of a new campaign to raise awareness of the subject. The bright yellow against the white really works and having a cut out of the instagram filter makes it feel like this campaign is something that could travel around colleges/ sixth forms and you can see people taking photos with it and really engaging with the idea. The concept fits perfectly within its target audience and the addition of the buzzfeed element feels really contemporary and like it could be applied to the real world straight away, I think this project has really done a fabulous job on creating awareness for a difficult subject.
Here I am testing out different positions of the title, after I printed out the first it wasn’t reading how i wanted it to so tried a few other ways. I also mirrored the Background so it would stretch across the spread and lowered the opacity of the image and the title so it isnt as harsh and matches the density of the introductory paragraph.
I played around with adding a box around the paragraph in both white and a 70% opacity box to see if it made the text any clearer.
Adidng the box does draw the eye over to the text but i would need to print it to see how effective it is.
Moving on to page 3/4 I have been experimenting wiht different body copy type faces and lots of different columns and margins.
Looking at my research I’d seen the use of titles similar to this off centre and stretching over the paragraph. I have decided to use justified type as it fits with the clinicality of the subject matter in the article I also think it contrasts well with the more organic less rigid hand drawn type of the pull out quote which I have just realised might need quotation marks – I will discuss this in the tutorial tomorrow.(friday the 5th may)
The page is looking a little boring and too clinical so I am going to highlight some of the important parts of the article using a similar colour to that of the image on the first two pages this will also add to the consistency of the page. I have found a tutorial on how to do so. Underlining then changing the weight and offset of the line gives the highlight effect. I will also try a hand drawn highlight placed from illustrator to match the type and simply a coloured box with a lowered opacity.
Hand drawn line at 100% opacity
Hand drawn line at 80% opacity
I think either the underline or the 80% opacity line work the best but it is just whether or not they will work well across the whole publication now. The hand drawn ties the style of the title into the text but the underline makes the body copy look neater and cleaner so I need to decide which way I want to take it.
Changing the colour of some of the words in the quote lightens the page visually and ties in the colour of the highlights.
Looking at the texture I created and the works of Francis Bacon I’m going to try and look into different ways of creating texture – cotton wool, ink and salt – using the curing meat with salt to prolong it and using this as a metaphor for the prolonging of life with the “God pill” the article talks about
The colours are visually similar to the ones I have used and connote the flesh, bodily, human tissue like themes that I want to get across in my piece.
Researching the curing with salt process I found that you just have to cover the meat with sat and spices and leave it for a while, trying this with ink salt and paper might produce some interesting textures/ visuals that I could develop and incorporate into the magazine.
After creating some ink and salt spills I have photographed them and played around in photoshop with the brightness and contrast and levels, also replacing the colours in some to make them fit the scheme of the first page. I think the textures and shapes fit with the clinical, human body theme of the article as they look like blood spills or like growing organisms.
I have printed all three spreads out in colour but on a smaller scale but the colours of the visual components don’t match up, some have a more purple twinge to them and the images on the ones above aren’t see through enough for the text to be clear so I need to change this.
At this stage, whilst waiting for a tutorial, I have printed off all three spreads to see if they work as a group. I think they look alright but maybe the first and second are too focussed on the left and look a bit samey because of this. I think the text is also too big and might need reducing a pint size(currently 11).
After my tutorial I need to change the point size and be more experimental with the highlights and add even more hand drawn elements – rings around bits of information. We also discussed adding more of the texture elements and including some on the second spread – whilst changing the way I have used them on the 3rd spread to create more of a sweeping thing to work as a path for the eye and so it doesnt effect the legibility of the text. I’m also going to change the way I present the pull out quotes and make more of a show out of them,
Here I’ve started to add more of the highlights and the page seems to be coming together more now.
We talked about the posibility of having a whole page red, Im not sure where i would fit this in but i tried adding some block colour to the page. But I think it might be too much? I am going to try circle the 15000 deaths bit.
After a tutorial and peer comments I have realised the circle is still not enough to draw attention to the detail of the 150.000 deaths so I tried a circle and red text however that clashed, here I have got the text underlined, bigger than the rest of the title and in red but it is lacking something still.
During the tutorial it was also discussed that some of the highlights could be different opacities to aid with hierarchy and ordering the information.
I decided on the image behind the text and have tried the body copy in red, however it needs printing really to see if you can read the text within the highlight.
I think I like the red text but i’m torn as to whether or not it is too much, I have created a circling on illustrator as none of the original ones were working.
To make the text on the first spread clearer I have made the section behind it lighter. The legibility is greatly improved without the loss of the effect of the image.
Using illustrator to create the pull out quotes using the hand drawn type, I used this method for all of the quotes.
The talk from Bruno Maag and Tom Foley was an interesting insight to the world of typography design.
They talked about their work for LUSH and Intel and the long process type/logo/branding has. It had never crossed my mind that complex script like arabic could come in different typefaces, as silly as that sounds. They talked about how difficult it is to make digital type look handwritten and the use of design variants to make it more convincing, this means having multiple versions of one character that will swap out to give the digital type the feel of inconsistency that hand written type has. They use these design variants for the most common characters and ligatures (a/e/fi etc).
They expanded on script styles and the different problems this creates when designing a world wide typeface like the one they designed for Intel and how in certain scripts you have to incorporate the origins of the letterforms and the weighting of line strokes. They went on to discuss how to create a typeface/family you start with key characters (k/b/a/s/n) because they have all the different components (ascenders/descenders etc). The talk highlighted the level of refinement that goes into professional type design and how many stages are involved.
What is it?
Conceptualism is ‘idea art’ it is not categorized with painting or sculpture but uses the materials an artist deems appropriate to put their idea across. There is no certain style or trend that outlines conceptual art but there are common ways that emerged between the mid 1960’s and 70’s. Conceptual art spread across Europe, North America and South America. The most widely used techniques include;
instructions (Sol LeWitt’s wall drawings instructions and diagrams)
actions – similar to performance but letting things happen (Beuys sat in a room covered in felt with a coyote as an expression of his anti vietnam war stance.
land art – physical intervention with the landscape (Richard’s stomping of onle row of grass to flatten it which showed in a photograph when the light was shining at the right angle)
found objects (challenging what we class as art objects)
documentation (documenting a process or period of time like “post partum document 1975 – the documentation of a mother and sons relationship over 6 years)
Conceptual artists emphasised the processes and methods rather than the finished object as a criticism of the commercialised art world as because there were no ‘finished’ objects they couldn’t be bought and sold placing the value of the work on its ideas. Much conceptual art comments/ addresses social and governmental issues.
Marcel Duchamp is known as one of Conceptualisms forefounders specifically his work “fountain”
Joseph Kosuth, Art After Philosophy (1969)
I think the main ideas behind this text are that artists should be questioning art and philosophy and Kosuth thinks this isn’t happening. More than anything it seems he comes from a position of opinion that conceptual art is most valuable and “half or more of the best new work in the last few years has been neither painting nor art” which kind of takes you back to the debate of what separates painting and sculpture and the ‘flatness’ issues. Found the article very hard to read and I’m unsure if I at all got the jist of it?
Read Sol LeWitt, Sentences on Conceptual Art, (1969)
Theses numbered sentences that seem to follow some kind of flow from one leading to the other are almost equally as confusing as the first article but I think it highlights the importance of the idea and its value in creating new ideas, leaving logic behind but following illogical/ irrational ideas logically?
“When words such as painting and sculpture are used, they connote a whole tradition and imply a consequent acceptance of this tradition, thus placing limitations on the artist who would reluctant to make art that goes beyond the limitations.”
The nature of Conceptual art according to LeWitt should not be limited by labels of outcomes “Ideas implement the concept”. He talks of one concept creating different idea chains between artists and no form is more superior to another but the right form is that which is appropriate to the idea and they are all equal.
However the best ‘sentence’ in my opinion is “Banal ideas cannot be rescued by beautiful execution.”
Repetition and circulation and readymades
Duchamps readymades, mainly Fountain are curious as the are repeated but there was never an original because the objects are that of mass production, and in the case of fountain the initial fountain has been lost so it exists only it its repeated forms.
The readymade is a ‘snapshot’ a ‘rendezvous’ or a moment between artist and object and becomes a readymade due to inscription or relocation/ repositioning. The signature on the urinal is a repetition of the comic Mutt and Jeff a ‘household name’ used as a linguistic pun, Richard in french a slang term for rich man – each part of the work is considered. The urinal is repeated (not exactly) in different context to comment on different issues or different purposes. Reproducing work in complicated or elaborate ways to emphasise the importance of process even in reproduction. Reproductions in different forms e.g blueprints for the replication of the initial fountain.
The overarching message of the lecture from David Joselit is that an object can disappear into reproduction. How exact reproduction of the notes on Duchamps bachelor and bride gives them value because of the extensive processes he goes to to make them exact copies
The NSPCC campaign “Share Aware” is targeting at young teenagers and children, the style of the animation is simple but complex enough to keep the attention of the audience. The transitions of the animations are very smooth and when i visualise our animation this is the kind of thing I see. I think it would be a good idea to kind of create our animation of the back of this campaign when it comes to the style and simplicity of the visual metaphors.