Thursday, 29 September 2011

Researching Materials: Tickets.

Researching tickets and promotional memorabilia for my 'Design Production: Print' project- looking at various styles, what they are promoting, size, stock and print finishes. Examples below have been sourced from online sources and sites.

A promotional, interactive design by Katya Suvorova for "any coin will help us clean the victims of oil spills"- a brief in which Greenpeace Russia wanted to help promote the charity and donations of others to help clean up the endangered birds affected by Kerchensky Strait oil leaks.
I really love this engaging, playful, yet simple design- very creative visual communication- I need to learn how to apply this metallic scratchcard print effect!

Contemporary tube ticket designs by Graphic Designer Elliott Burford- love the simple design and iconography, along with the spectral colour range. Simple, stylish, and attractive.

Another fun competitor for the Tube Ticket re-design from 'The Serif'... right to the point, and a completely necessary statement in the eyes of grumps like me. Good use of minimal colours, and the uppercase of the type directs the point in a bold, loud fashion- reflective of the message it is communicating.

An invitation for the Nottingham Trent University University Graduate Fashion Show Week, 2010- created by intern Andrew Townsend at Leicester's design studio, Un.titled. The bold typographic design boats print finishes with SpotUV gloss. A stylish and simple design- with clearly communicated information and a sophisticated and considered print finish.

A hypothetical branding and promotion design for the London 2012 Olympic games, created by designer Carl Christopher Fisk. The branding and identity printed media includes letterheads, tickets, event passes, business cards, etc.
A strong, well developed identity, the design uses a consistent colour palette (red, white and blue- representative of the United Kingdom's Union Jack flag) with various other spot colours in specialist items. Also incorporating the traditional Olympics imagery (Olympic rings/torch, etc) with simple pictograms that visually communicate particular events and sports within the games.

More creative typographic printed media for Nottingham Trent Fashion Graduate show by Un.titled intern designer, Andrew Towsend. Here, uppercase typefaces in minimal colours and combined with interesting background fills and textures (complete with laminated high gloss interior and various booklet folds) for a high impact, bold design.


Design branding by Kayla Jones for an event/convention, the fictional zombie walk and blood drive. The identity was then applied over various paraphernalia such as blood bag props- online resources, printed media, etc. A particular favourite from the branding design was the three-dimensional event tickets (second picture from the top), which communicates the zombie theme in a playful and unexpected way.

Wednesday, 28 September 2011

Researching Materials: Exhibition Posters.

Researching and sourcing examples of Exhibition posters for potential inspiration in the development of printed media in my Print production design developments.

Like many Exhibition posters, this example, exhibiting the design works of Saul Bass, encapsulates his design practice in a simple and easily communicated fashion. The simple typefaces add to the minimalistic style, but do not detract from the image.

London South Central's 'The Shape of Things to Come' displayed architectural works- easily and visually represented by the black silhouette shapes against the bright, eye-catching yellow background. The vibrant colour works well, adding interest and vibrancy to an otherwise very minimal design. Unique composition too- suggests a playful creativity.

The National Portrait Gallery's retrospective exhibition of the portraiture photography of Mario Testino was easily communicated through the exhibition's promotional poster. The background image is of his (perhaps) most famous model and associate, Kate Moss.
The simple white and grey uppercase type works well over the more vibrant blues and reds- though the typeface still insists a bold impression.

A playful vector design for the arts exhibition 'Circus' which encapsulates the name perfectly with this vintage circus theme, with just enough flourish. The circus typeface adds a playful and nostalgic theme and character, with the promise of entertainment and fun.

The promotional exhibition poster for the showing 'Europa' by the Tate Gallery- a display of film and video work from the center of Europe. The background image (35mm) is complimented with the simplistic, modern typeface used with white text information to the sides- ensuring that the image and the 'E' are making the impact and drawing people in for a closer look.

An exhibition poster promoting the showcase event at the New Jersey Institute of Technology. 
Really like this poster design- interesting, modern compositions, creative use of arrow symbols and well-balanced use of colour. Eye-catching, and with the aforementioned various compositions, keep the eye moving around the design with ease.

Branding promotional work by designer Neil Lawler for the Amnesty International sponsored exhibition 'Shout', held at the Cornwall College 2011 Arts & Media Summer Exhibition. Visually dynamic, yet simple with a strong use of colour that certainly attracts attention. Simple and stylish.

A Retrospective Exhibition Featuring the Photography and Films of Richard Kern
Curated by Rafi Ghanaghounian. The bold, "in your face" condensed bold typeface works wonderfully with Kern's abstract portraiture in this exhibition poster. Loud and impactful- this poster is brilliantly bold.

A creative design project by Turkish Designer, Mehmet Gozetlik, in which he creates promotional typographic film posters which also incorporates the brand integration within the films into the design- an insightful and sophisticated, minimal design.

What is design for print?//TOP TEN MANUAL.

Starting to consider, from the past few days/week of inductions and seminars a few topics I could pick for my 'Ten Most Important Considerations During The Print Process' manual (to be published via 'Issuu'). This is what I've considered so far...


Every other day for the next week or so, I will come back and edit or "tweek" the list where necessary, upon learning new factors and skills through seminars and workshops, before starting to produce my Issuu- ready PDF formatted manual design.

Design Production- Print/Lateral thinking//Sourcing images.

In response to today's lateral thinking/concept building workshop, I have identified a brand/identity/logo that relates to each of my statements below (sources found below each one).
My statements are as follows:

Business card and logo created for screenwriter Jeremy Turkin. Really like this design- simple, yet innovative how his initials 'J.T' have been transformed to resemble the page break symbol found on word processors (used in the screenwriting profession).

1// Original and innovative scripts, written by the Director (Wes Anderson) himself, along with involving himself with all elements in the film's production. Consequently, he knows the film and the story inside and out- this is evidence in the end result.

Here, Lativian Graphic Designer, Anatoly Vyalikh, utilises the Futura typeface for the corporate identity and branding of 'Post of Russia'.

2// Graphic Designers- due to iconic use of the Futura typeface (particularly Futura Bold) and creative use of colour (primary colours in particular)- used in various aspects including promotional posters, costumes and set design.

Logo design by Designer Alex Trochut, created for 'The Rolling Stones' album, 'Rolled Gold'- using Photoshop and lighting editing effects to achieve a luxurious and tactile-looking logotype.

3// Anyone who dislikes 1960/70's British pop rock/rock & roll ('The Rolling Stones/'The Beatles' a common fixture on Wes' OSTs).

Film poster logos for both 'Wedding Crashers' and Wes Anderson's 'Fantastic Mr. Fox'... both utilise uppercase in primary colours but with very different effects. The black line around the red fill of 'Wedding Crashers' looks cheap and unconsidered. The 'Fantastic Mr. Fox' logo shows consideration in composition, kerning and combination with other colours (in the Autumnal orange/yellow colour palette).

4// Wes' films are better than any of the 'Wilson brother's' films- his scripts give them credibility and status in amongst other less successful or unmemorable films such as 'Marmaduke' and 'My Super Ex-Girlfriend' (feat. Owen/Luke Wilson).

Great branding for client 'Huggies' by Ukrainian Designer Yurko Gutsulyak. Using the corporate colours, Yurko create a unique and interesting festive gift- a calendar which would also track the steps taken by your newborn baby- you can follow their progress as easily as you can follow the dates!

5// A Children's Literature Illustrator- crediting Roald Dahl as one of his personal heroes, this is evidenced throughout Wes Anderson's films. His use of colour and set design is child-like, imaginative and sometimes other-worldly... his imagination and use of narrative in his stories is so whimsical and playful that is it often as if the images were pulled from a picture book.

Re-branding of Roald Dahl's classic novels by Designer John Nguyen- using a stripped down, simplistic, yet visually communicative illustrative style. I like the hand drawn, counter-filled type- a really unique and handmade aesthetic has been achieved.

6// Roald Dahl- Cited (see above) as a great inspiration in his life and work, Wes and his films share many qualities with the legendary author, Roald Dahl. Although Dahl's books were (generally) for children, he would have many adult themes and issues running throughout. Wes too shares this style- a seemingly innocent narrative or storyline with much darker issues addressed. Also, Wes maintains the child-like wonder and whimsy in his films, as Roald Dahl was so well known for...whether it be through characters, costumes, sets, etc.

Branding for Fantasea 'Reef World' Cruises by Australian designer Peter Bian. The brochure and branding reflects the mystical and "dream-like" experienced that is promised by the leisure industry company.

7// The bottom of the great barrier reef, at the point where you can just see the light through the waves- As displayed in both 'Rushmore' and 'The Life Aqautic with Steve Zissou', another of Anderson's heroes is the oceanographer and film maker, Jacques Costeau, who captured the beauty and majesty of the ocean and it's life. Not only is this passion of Wes' most obvious in the two films mentioned above, but all of his films have that mystical wonder and beautifully rich colour that can be found in the ocean through the flora, fauna and wildlife.

The 'Ancestree' branding design, created by Designer Adam Bee. The Branding covers the logo design (in which the icon is visually representative of both the rings of a tree, and a speech bubble- communicating the contact and networking element of the company), an an iPhone app.

8// An awkward family reunion- A constant feature with Wes' films, dysfunctional families (as in particular, 'Bad Dads' play a prominent feature. Along with this consistency, his screenwriting style is in a very sharp, quick witted and dry humor that is so often found within families- especially those that have spent a little more time together than they otherwise may have liked.

Infographic design about the sport of table tennis in the 2012 London Olympics, designed by Petros Afshar.
Although this is not specifically an "itinerary" it does delve into the finer details, rules and regulations to stick by in the game- as an itinerary would also dictate. Really like the simple yet very strong, considered vector designs. The simplicity works well with the geometric form of the Futura type family.

9// A laminated itinerary- typed out in Futura Bold- An important artifact in the film 'The Darjeeling Limited', "f*ck the itinerary", I feel this is a perfect metaphor for Wes Anderson's film making style- films which fit to a perfect and repeated structure, with classic style and timely perfection- everything placed, and everything in it's place.