Throughout this module I believe I’ve that I have developed an ongoing investigation and development into image and illustration. What I’ve found most useful on this module was being able to analyze what I was creating in relation to how it affects type and how it sits amongst it.
I wouldn’t say the article project was one of the strongest briefs I’ve done and I actually struggled with it a little. Fitting my idea of what I see for article into a pre determined space really limited my ideas. Designing for a specific area was a struggle for me mainly because I had my idea and focused on it. When it came to making it fit it was something that I’d completely forgotten about it. Because of this the images lost relevance and generally looked out of place. If I were to look at this project again I’d definitely consider the possibilities within the area I have to work with and not just jump straight on the PC or Mac.
The second brief, images based around quotes taken from the articles. I think the most successful use of type and image within this brief was the 'brief making bread phase'. Shaped in a rounded font and textured in the form of bread these two worked really well in reinforcing the idea behind the text.
The type as image project was quite difficult in a way but fun to work with. Difficult, because there was very little control of how the outcome would be received. The original image was of a policeman looking at a stopwatch in a city environment. I think I did a decent attempt at recreating the scene in 3D as you can make out the idea of image. The figure is made from play doh and plastasine whilst the backdrop from card. There was no real design decisions to be made for this scene as I was simply following the image but it was a fun project to work with and interesting to see how we interpret another person’s idea.
The shape I was given for the eye chart brief was teeth. I began by investigating the subject and decided that I would work with shark teeth. There lots of images on this, which was great for references. These were categorized from smallest to largest and traced over in after effects. The items were coloured in photo shopped and organized big to small. The shapes are formed in the outline of a tooth and complete with accurate scale markings based on an existing eye chart.
For the final brief I was looking at the idea of shape and form, I began by investigating natural forms until I decided on the shape of a leaf. The decision for the flipbook was because I wanted to create something that represented a life cycle. In the animation the leafs veins are slowly constructed and the leaf turns green and becomes whole. The leaf then fades to brown and deconstructs. The animation was created in After Effects and outputted as a Jpeg Sequence. These were then printed onto trace as acetate was not available at the time. If I were to create another flipper I’d probably look into trace however the costing of the material is quite high, around ten times that of trace.
Tuesday, 26 April 2011
Thursday, 21 April 2011
Tuesday, 29 March 2011
Hi CONTACT
I’m a second year Graphic Design student studying at Leeds College of Art and Design. My main focus for this year of practice was illustration and as part of my research I was looking at illustration graphic agencies.
Through this I came across your work, which I have found extremely engaging and inspiring towards the style of work I’d like to produce. What I love most about your style is how genuinely fun and inviting it appear, whilst having that technical ability, which reinforces the idea of fun design and makes it substantial and solid.
I’d greatly appreciate, if possible, to maybe spend an hour or two just to meet you guys and get a quick look at how you work. This would be very much appreciated and a definite gain towards my current practice,
Many Thanks,
Richard Robinson
I’m a second year Graphic Design student studying at Leeds College of Art and Design. My main focus for this year of practice was illustration and as part of my research I was looking at illustration graphic agencies.
Through this I came across your work, which I have found extremely engaging and inspiring towards the style of work I’d like to produce. What I love most about your style is how genuinely fun and inviting it appear, whilst having that technical ability, which reinforces the idea of fun design and makes it substantial and solid.
I’d greatly appreciate, if possible, to maybe spend an hour or two just to meet you guys and get a quick look at how you work. This would be very much appreciated and a definite gain towards my current practice,
Many Thanks,
Richard Robinson
Saturday, 12 March 2011
PokedStudio.com
contact info@pokedstudio.com tel / 029 20 48 48 59
www.brandnu.co.uk
contact
office phone: + 44 (0) 208 875 1858
mobile phone: + 44 (0) 7881 646 808
email enquiry: info (at) brandnu.co.uk
www.clearcreative.eu
The Lodge,
306 Walmersley, Bury
Manchester BL9 6QF
Tel: +44(0)161 762 3456
Fax: +44(0)161 762 3457
Email: info@clear-creative.co.uk
www.pencilmarks.co.uk
Pencil Marks Design Ltd
The Stables
Troy Road
Horsforth LS18 5SY
0113 281 9000
design@pencilmarks.co.uk
www.creativespark.co.uk
Phone
0161 235 8558
Manchester Office
Creative Spark, 1st Floor,
22 Lever Street, Manchester M1 1EA
Email
hello@creativespark.co.uk
London Office
Creative Spark, Studio 14,
Blackstock Mews, London N4 2BT
Leeds Office
MWB Leeds,
1 Whitehall, Whitehall Road
Leeds LS1 4HR
designcorporation
Nigel Pearce 020 7734 5676
7 Portland Mews, Soho, London WF1 8JQ
us@designcorporation.co.uk
www.pixel-dna.com
+44 (0) 114 237 3456
info@pixel-dna.com
Three Sixty Design Ltd
Website: www.threesixtydesign.co.uk
0113-257 5222
www.kipikapopo.co.uk
Email Lydia Lapinski
hello@kipikapopo.co.uk
www.arsthanea.com/
Ars Thanea
Forteczna 2
01-540 Warsaw / Poland
phone: +48 22 398 98 60
mail: office@arsthanea.com
http://loulouandtummie.com/
contact info@pokedstudio.com tel / 029 20 48 48 59
www.brandnu.co.uk
contact
office phone: + 44 (0) 208 875 1858
mobile phone: + 44 (0) 7881 646 808
email enquiry: info (at) brandnu.co.uk
www.clearcreative.eu
The Lodge,
306 Walmersley, Bury
Manchester BL9 6QF
Tel: +44(0)161 762 3456
Fax: +44(0)161 762 3457
Email: info@clear-creative.co.uk
www.pencilmarks.co.uk
Pencil Marks Design Ltd
The Stables
Troy Road
Horsforth LS18 5SY
0113 281 9000
design@pencilmarks.co.uk
www.creativespark.co.uk
Phone
0161 235 8558
Manchester Office
Creative Spark, 1st Floor,
22 Lever Street, Manchester M1 1EA
hello@creativespark.co.uk
London Office
Creative Spark, Studio 14,
Blackstock Mews, London N4 2BT
Leeds Office
MWB Leeds,
1 Whitehall, Whitehall Road
Leeds LS1 4HR
designcorporation
Nigel Pearce 020 7734 5676
7 Portland Mews, Soho, London WF1 8JQ
us@designcorporation.co.uk
www.pixel-dna.com
+44 (0) 114 237 3456
info@pixel-dna.com
Three Sixty Design Ltd
Website: www.threesixtydesign.co.uk
0113-257 5222
www.kipikapopo.co.uk
Email Lydia Lapinski
hello@kipikapopo.co.uk
www.arsthanea.com/
Ars Thanea
Forteczna 2
01-540 Warsaw / Poland
phone: +48 22 398 98 60
mail: office@arsthanea.com
http://loulouandtummie.com/
Wednesday, 16 February 2011
Evaluation OUGD202
The chosen subject for this brief was Top Ten Gangster Films. The reason for choosing this subject was that I wanted a dark gritty base to form the video on, gangsters being a good start.
The research I was looking into at the time was titles from Tropic Thunder, RocknRolla etc. The visual investigations to AE were more towards Photoshop based files that animate in After Effects. What really captured my eye was ink bleeds and artistic strokes being revealed and painted out, examples such as “Silver Sun Pickups – Swoon”. Other research includes cartoon and comic art animated in a very unclean raw state, hard edges, almost undeveloped however this obviously the intended finish. The advertisement I was looking at were things such as the Cadbury Gorilla advert. What I found most effective about this was the slow build up with the inevitable breakdown of the music. Just when the viewer thinks they understand the pace of video, it’s quickly shifted.
Choosing the title films for the show was researched using websites such as IMDB and Rotten Tomato. I looked at both user opinions and film critiques opinions from various other sites to compile the main list and threw in a few British films on top to make it more relevant to a UK show. The chosen channel for the show was C4. The reason due to the similarity of existing shows shown on that channel and the time of ten pm. Top 10 at 10pm.
The music I was looking at was Russian/Italian soundtracks taken from various movie soundtracks researched. The chosen soundtrack to run throughout the video was “Ruskies”, a track taken from the 2000 feature film Snatch.
The initial design work was looking painting over existing iconic imagery from a selection of the films. I started off with an image of the Godfather. The image as taken from Google, colour dropped and painted over using a Wacom to achieve an artistic hand drawn effect. When taken to after effects I experimented using various layers with the Vector Paint tool to slowly paint out individual sections of the image to give the effect that it was being drawn up.
To add some dynamic to the video it was decided that the images would pan around a large textured background. To achieve this I researched some large format texture images of rocks and blended them together using PS. The layers where then parented to the background so that they would stay fixed to the map as the layer moved around.
I was experiencing lot difficulties trying to get the panning to work correcting. Originally I was using all the animated comps in a larger composition, which was parented to the motion of the background. However the complexity of all layers individually animating was causing the file to be almost unworkable.
To get a around this, I enlarged the frame of the original video files (Scarface and Godfather). With a larger background I was then able to mask off the hard edge and have the video file sit softly on the texture background. The comp was then made of 2 videos and the background fixing the running issues and was also a lot easier to work with.
The images are laid out in such as way that they are not centred. Origionally the plan was to incorporate text that would be introduced at the same time as voice over quote. However the text wasn’t really working and the advice from a crit was to loose it altogether as it distracted from the imagery. Could have been developed to work with the video a little better but I don’t think the video is lacking without it.
From advice in crits the video was too linear with nothing interesting and nothing unexpected. From this I decided to create a change in mood. The video now took on darker, grittier side just over half way in. The animation of the boxing glove was used to try and lift the flat paintings and make the video seem more interactive/varied.
I also wanted to get more gritty and darker with the audio and look after the mood switch, so the colour gets a much darker tone, which slowly dips up and down to mimic lighting. The power down fade to black also acts a marker from where the mood shifts and a nice synth soundtrack was added, taken from the film Godfather 2.
The main issues I have with my title sequence is that in my eyes it probably works better as a 50 second advert as appose to title sequence. I’m not sure why it feels like this, maybe because there is so much going on? If I had to revisit this, it would be something I’d have to review to adept to create a more fitting sequence as in my opinion, it’s not quite working as a title sequence yet.
The research I was looking into at the time was titles from Tropic Thunder, RocknRolla etc. The visual investigations to AE were more towards Photoshop based files that animate in After Effects. What really captured my eye was ink bleeds and artistic strokes being revealed and painted out, examples such as “Silver Sun Pickups – Swoon”. Other research includes cartoon and comic art animated in a very unclean raw state, hard edges, almost undeveloped however this obviously the intended finish. The advertisement I was looking at were things such as the Cadbury Gorilla advert. What I found most effective about this was the slow build up with the inevitable breakdown of the music. Just when the viewer thinks they understand the pace of video, it’s quickly shifted.
Choosing the title films for the show was researched using websites such as IMDB and Rotten Tomato. I looked at both user opinions and film critiques opinions from various other sites to compile the main list and threw in a few British films on top to make it more relevant to a UK show. The chosen channel for the show was C4. The reason due to the similarity of existing shows shown on that channel and the time of ten pm. Top 10 at 10pm.
The music I was looking at was Russian/Italian soundtracks taken from various movie soundtracks researched. The chosen soundtrack to run throughout the video was “Ruskies”, a track taken from the 2000 feature film Snatch.
The initial design work was looking painting over existing iconic imagery from a selection of the films. I started off with an image of the Godfather. The image as taken from Google, colour dropped and painted over using a Wacom to achieve an artistic hand drawn effect. When taken to after effects I experimented using various layers with the Vector Paint tool to slowly paint out individual sections of the image to give the effect that it was being drawn up.
To add some dynamic to the video it was decided that the images would pan around a large textured background. To achieve this I researched some large format texture images of rocks and blended them together using PS. The layers where then parented to the background so that they would stay fixed to the map as the layer moved around.
I was experiencing lot difficulties trying to get the panning to work correcting. Originally I was using all the animated comps in a larger composition, which was parented to the motion of the background. However the complexity of all layers individually animating was causing the file to be almost unworkable.
To get a around this, I enlarged the frame of the original video files (Scarface and Godfather). With a larger background I was then able to mask off the hard edge and have the video file sit softly on the texture background. The comp was then made of 2 videos and the background fixing the running issues and was also a lot easier to work with.
The images are laid out in such as way that they are not centred. Origionally the plan was to incorporate text that would be introduced at the same time as voice over quote. However the text wasn’t really working and the advice from a crit was to loose it altogether as it distracted from the imagery. Could have been developed to work with the video a little better but I don’t think the video is lacking without it.
From advice in crits the video was too linear with nothing interesting and nothing unexpected. From this I decided to create a change in mood. The video now took on darker, grittier side just over half way in. The animation of the boxing glove was used to try and lift the flat paintings and make the video seem more interactive/varied.
I also wanted to get more gritty and darker with the audio and look after the mood switch, so the colour gets a much darker tone, which slowly dips up and down to mimic lighting. The power down fade to black also acts a marker from where the mood shifts and a nice synth soundtrack was added, taken from the film Godfather 2.
The main issues I have with my title sequence is that in my eyes it probably works better as a 50 second advert as appose to title sequence. I’m not sure why it feels like this, maybe because there is so much going on? If I had to revisit this, it would be something I’d have to review to adept to create a more fitting sequence as in my opinion, it’s not quite working as a title sequence yet.
Monday, 17 January 2011
Enterprise Task 5
Over the past 10 weeks you have been asked you to research and respond to 5 key questions in
the form of a set of tasks. These are:
o Who am I – who are they ?
o Where are they – How will they find me ?
o How will I promote myself – what do they want to hear ?
o Who else is out there – how good are they ?
Statements summarising your research should have been posted to your enterprise blog and
should form the basis of an ongoing inquiry.
10 short but informative statements that identify your distinctive ‘positioning’ as a Graphic
Designer. Your statements should consider your ambitions, skills and areas of creative interest in
relation to the market, your clients, competition and possible collaborators and should be based on
the information that you have collected in response to the set tasks.
You will need to compare a list of your skills and services against customer/client needs to those of
your competitors, this should help you determine how your company is unique.
* To develop an awareness of the relationship between graphics design and fashion design.
* Solid portfolio that can be printable and accessed on the web.
* Have a mission statement so that clients/employers can have an understanding of me as a designer.
* Know of my competition and suggest benefits of my work appose to theres (not sure what this would be at this time).
* Stay in touch with what's happening around me. Be aware of changes and styles of design.
* Constantly develop and grow my understanding/abilities with software.
* Become more investigative into other areas of practice and look at what makes successful design.
* Being up to date in form of journeys and time management.
the form of a set of tasks. These are:
o Who am I – who are they ?
o Where are they – How will they find me ?
o How will I promote myself – what do they want to hear ?
o Who else is out there – how good are they ?
Statements summarising your research should have been posted to your enterprise blog and
should form the basis of an ongoing inquiry.
10 short but informative statements that identify your distinctive ‘positioning’ as a Graphic
Designer. Your statements should consider your ambitions, skills and areas of creative interest in
relation to the market, your clients, competition and possible collaborators and should be based on
the information that you have collected in response to the set tasks.
You will need to compare a list of your skills and services against customer/client needs to those of
your competitors, this should help you determine how your company is unique.
* To develop an awareness of the relationship between graphics design and fashion design.
* Solid portfolio that can be printable and accessed on the web.
* Have a mission statement so that clients/employers can have an understanding of me as a designer.
* Know of my competition and suggest benefits of my work appose to theres (not sure what this would be at this time).
* Stay in touch with what's happening around me. Be aware of changes and styles of design.
* Constantly develop and grow my understanding/abilities with software.
* Become more investigative into other areas of practice and look at what makes successful design.
* Being up to date in form of journeys and time management.
Enterprise Task 4
Who am I competing against?
What do they offer?
What makes me better?
What makes me different?
"Evaluate the strengths and weaknesses of three practitioners or graphic design agencies as objectively as you can. What opportunities for your own practice have revealed themselves to you as a result of this analysis and evaluation... It is essential you make references to SWOT and evaluate it's usefulness as an analysis or evaluation tool."
Ars Thanea
We offer wide range of services from illustration, through design up to advanced technology products. Our passion is being challenged by our clients with projects that hunger for delivery embodied in remarkable products. It stands for terms of creative execution, project experience and development. Our goal is establishing longterm relationships with the customers based on trust and experience gathered over the years.
Our studio is located in Warsaw, Poland where our work is created with devotion. However, for us it is much more than just 'work'. It is something we all believe in. It is our heritage. It is a chance to make the world a better place. Our talented team of directors, designers, illustrators, programmers and developers is constantly evolving both as people and specialists. All that to be better at pushing brands on new, deeply engaging territories.
So, why don't you throw a challenge our way?
Positive use of language which gives a client reassurance in their work and what they can do. They clearly state where their skills lie within, brand identity, packaging, print and online. So we know they offer results for a range of different media so you would imagine they therefore work for a range of clients.
www.crisvector.com
Hello!
I'm Cristiano Siqueira and people call me CrisVector too. I'm an Illustrator from Sao Paulo / Brazil, specialized in digital and vector illustration and this website is a showcase of my personal production and some works done for various clients around the world.
Contact
You are welcome. To contact me, drop your message here. Brasileiros falem comigo por aqui. For business proposals, job inquiries and artwork usage, please contact Erika Groeschel Inc. T. 212-685-3291
C. 646-258-1177 NYC erika@erikaillustrations.com
Awesome illustrations with great use of digital media. High finish modern style with tradition use of colour reflecting a comic book edge. The difference between me in this context is that I am clearly not this good. It’s a style that can be easily repeated but I think it’s unuiqe in the sense of how it is used.
What do they offer?
What makes me better?
What makes me different?
"Evaluate the strengths and weaknesses of three practitioners or graphic design agencies as objectively as you can. What opportunities for your own practice have revealed themselves to you as a result of this analysis and evaluation... It is essential you make references to SWOT and evaluate it's usefulness as an analysis or evaluation tool."
Ars Thanea
We offer wide range of services from illustration, through design up to advanced technology products. Our passion is being challenged by our clients with projects that hunger for delivery embodied in remarkable products. It stands for terms of creative execution, project experience and development. Our goal is establishing longterm relationships with the customers based on trust and experience gathered over the years.
Our studio is located in Warsaw, Poland where our work is created with devotion. However, for us it is much more than just 'work'. It is something we all believe in. It is our heritage. It is a chance to make the world a better place. Our talented team of directors, designers, illustrators, programmers and developers is constantly evolving both as people and specialists. All that to be better at pushing brands on new, deeply engaging territories.
So, why don't you throw a challenge our way?
Positive use of language which gives a client reassurance in their work and what they can do. They clearly state where their skills lie within, brand identity, packaging, print and online. So we know they offer results for a range of different media so you would imagine they therefore work for a range of clients.
www.crisvector.com
Hello!
I'm Cristiano Siqueira and people call me CrisVector too. I'm an Illustrator from Sao Paulo / Brazil, specialized in digital and vector illustration and this website is a showcase of my personal production and some works done for various clients around the world.
Contact
You are welcome. To contact me, drop your message here. Brasileiros falem comigo por aqui. For business proposals, job inquiries and artwork usage, please contact Erika Groeschel Inc. T. 212-685-3291
C. 646-258-1177 NYC erika@erikaillustrations.com
Awesome illustrations with great use of digital media. High finish modern style with tradition use of colour reflecting a comic book edge. The difference between me in this context is that I am clearly not this good. It’s a style that can be easily repeated but I think it’s unuiqe in the sense of how it is used.
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