Friday 6 June 2008
what is graphic design? quote by Paul Rand what a graphic designer does?
COPY: The designer does not, as a rule, begin with a preconceived idea. His idea is the result of subjective and objective thought, and the design a product of the idea. In order, therefore, to achieve an honest and effective solution he necessarily passes thought some sort of mental process. Consciously or not, he analyzes, interprets, translates. He improvises, invents new techniques and combinations. He coordinates and integrates his material so that he may restate his problem in terms of ideas, pictures, forms, and shapes. He unifies, simplifies, eliminates superfluities. He symbolizes. abstract from his material by association and analogy. He intensifies and reinforces his symbol with appropriate accessories to achieve clarity and interest. He draws upon instinct and intuition. He considers the spectator, his feelings and predilections.
what is graphic design?
Is very true. I get alot of ideas whereever I am. I think I am fairly random which is may why I am a creative thinker.
What is graphic design? FOR FAILURES
Failure Support Group is an event that focus on failure in artistic projects.
The event involves a series of 5-minute presentations of failures and discussion of issues such as: Why do art projects fail? Is there a recipe for failure? Are certain methodologies more prone to failure than others? What is at stake in acknowledging failure?
Failure Support Group will take place Friday Feb 29th at Democracy Center, Harvard Sq, Cambridge, MA (space is limited).
Hopefully, the presentations will be documented online. Should be interesting, inspirational - and potentially fun!
•
GUERRILLA-INNOVATION.COM WHAT IS GRAPHIC DESIGN?
GUERRILLA-INNOVATION.COM is a blog that brings together a wide range of cases in which traditional ideas and situations are challenged through unconventional creativity.
The blog highlights and discusses examples with different backgrounds and motifs and entries trend to focus on the practice of American and European activists, designers, DIY'ers etc. since their activities are well documented and easier to find.
A USE FUL AND INTERESTING SITE FOR CONCEPTUAL THINKING AND ALL AREAS OF DESIGN.
The blog highlights and discusses examples with different backgrounds and motifs and entries trend to focus on the practice of American and European activists, designers, DIY'ers etc. since their activities are well documented and easier to find.
A USE FUL AND INTERESTING SITE FOR CONCEPTUAL THINKING AND ALL AREAS OF DESIGN.
what is graphic design? AS BUZZ WOULDEN'T POST
By defining a distinctive graphic style to a diverse range of projects, GRAPHIC THOUGHT FACILITY has emerged as one of the UK’s most influential – and productive – graphic design teams. Founded in London in 1990 by Andy Stevens and Paul Neale, GTF now works for such clients as Habitat, Shakespeare's Globe Theatre and the Design Museum.
The work of Graphic Thought Facility is defined less by a distinctive visual language than the rigour with which the designers approach the process of developing and executing graphic projects. The defining characteristic of GTF’s finished work is its eclecticism. Drawing on a diverse range of typefaces – from robust use of Helvetica in the Digitopolis gallery at the Science Museum in London, to the curlicue lettering in marketing material for Habitat – printing techniques and materials, GTF reinvents its graphic style for each project.
Founded in London in 1990 by Paul Neale and Andy Stevens after they graduated in graphic design from the Royal College of Art GTF has since combined cultural projects – for Manchester Art Gallery, the Frieze Art Fair and Shakespeare’s Globe Theatre as well as the visual identity of the Design Museum – with commercial commissions from Habitat and the design of graphic-based products such as the MeBox storage system. Huw Morgan is now a partner of GTF alongside Neale and Stevens.
Visit GTF's website at graphicthoughtfacility.com
© Design Museum
Q. What were your early design influences? What drew you to graphic design?
Andy: Malcolm Garrett’s Simple Minds sleeves and TDK cassette packaging.
Huw: Printing. My mother had friends that were printer-makers - in the fine art sense - and I used to watch them avidly. They taught me about litho, we used stones and wax crayons instead of metal plates and films. I liked the process.
Paul: Probably the books and toys I had as a child.
Q. Do you feel that your education (design or otherwise) influenced the way you work now?
Andy: Leeds was very social and unpressured, I aspire to a working day that is like this! I found Derek Birdsall a big influence at the Royal College of Art.
Huw: In all honesty, probably not. It’s a crap cliché but I’ve learned more since leaving, although I’ve probably retained a methodical way of working that comes from learning chunks of exam revision verbatim.
Paul: Yes, it's the same pattern of “discuss, go-away-and-do-a-bit, then come back and discuss” that began in my A-level art group. Our art teacher, Mrs Savage didn’t follow a particular curriculum.
Q. Where did you meet and how did you start working together?
Andy: At the RCA from 1988 to 1990, I shared a studio with Paul and other founder member Nigel after Johnny Barnbrook moved out.
Huw: Paul was my tutor at Central Saint Martins (art school) and three years later I worked with Paul and Andy on an exhibition at the RCA.
Q. What were your earliest design commissions?
Andy: A logo for my best friend - a mobile hairdresser (stolen from an ERCO ad in Blueprint magazine) and local stuff in Leeds, then friends of friends’ shops and bands.
Paul: At school we found a group of break-dancers in an underground car park in Derby. We asked them to come into our school and do a gig. I designed the flyer - heavily influenced by the constructed typefaces in The Face, complete with halftone dots rendered in gouache.
Q. How would you characterise the perfect relationship between designer and client?
Andy: Mutual respect, un-bullshity.
Huw: One that trusts your opinion and appreciates that you are doing everything in your ability to give them the best job you can.
Paul: Relaxed, trusting and with no hidden agendas.
Q. What, if anything, do you consider to be your trademark?
Andy: GTF’s trademark would be the thoughtful consideration of purpose and production.
Huw: It would be good to think that it wasn’t as mannered as a trademark, but in reality, although you might try and avoid it, there are always going to be comfortable places that you go back to.
Paul: Unavoidable as it is, I hate the idea of having a trademark. I think our’s are self-evident.
Q. What would be your ideal job?
Andy: A Camper van concept for the new Volkswagen microbus.
Huw: Ever - in graphic design?
Paul: Probably something geeky.
Q. What is your favourite piece of your own work?
Andy: The Royal College of Art prospectus
Huw: Plenty of things still look good. A selection to follow, though I can’t necessarily take credit for them:
* a Jo Gordon Christmas card that was die-stamped through the envelope to make the card
* the Macbeth poster that Paul and Andy did before I knew them
* Oki Nami neon sign
* the Science Museum Digitopolis EL's
* The Globe publicity from 2003 with Nigel Shafran's photography
* various Habitat press releases
* Design Museum logo
Paul: No outright favourite, but the Habitat SS02 press release is a good one because most of the studio was involved in some way: model-making, photography, font-mongering etc.
Q. What is your favourite piece of graphic design in general?
Andy: Nothing stands out, I won’t try and force it.
Huw: Today it’s the General Electric logo and the deli just off the Ramblas in Barcelona with the full-bleed-product window.
Paul: That’s like asking: ‘What’s your favourite song?’ Today, it could be
Hipgnosis/George Hardie’s 10cc - How Dare You! record sleeve.
The work of Graphic Thought Facility is defined less by a distinctive visual language than the rigour with which the designers approach the process of developing and executing graphic projects. The defining characteristic of GTF’s finished work is its eclecticism. Drawing on a diverse range of typefaces – from robust use of Helvetica in the Digitopolis gallery at the Science Museum in London, to the curlicue lettering in marketing material for Habitat – printing techniques and materials, GTF reinvents its graphic style for each project.
Founded in London in 1990 by Paul Neale and Andy Stevens after they graduated in graphic design from the Royal College of Art GTF has since combined cultural projects – for Manchester Art Gallery, the Frieze Art Fair and Shakespeare’s Globe Theatre as well as the visual identity of the Design Museum – with commercial commissions from Habitat and the design of graphic-based products such as the MeBox storage system. Huw Morgan is now a partner of GTF alongside Neale and Stevens.
Visit GTF's website at graphicthoughtfacility.com
© Design Museum
Q. What were your early design influences? What drew you to graphic design?
Andy: Malcolm Garrett’s Simple Minds sleeves and TDK cassette packaging.
Huw: Printing. My mother had friends that were printer-makers - in the fine art sense - and I used to watch them avidly. They taught me about litho, we used stones and wax crayons instead of metal plates and films. I liked the process.
Paul: Probably the books and toys I had as a child.
Q. Do you feel that your education (design or otherwise) influenced the way you work now?
Andy: Leeds was very social and unpressured, I aspire to a working day that is like this! I found Derek Birdsall a big influence at the Royal College of Art.
Huw: In all honesty, probably not. It’s a crap cliché but I’ve learned more since leaving, although I’ve probably retained a methodical way of working that comes from learning chunks of exam revision verbatim.
Paul: Yes, it's the same pattern of “discuss, go-away-and-do-a-bit, then come back and discuss” that began in my A-level art group. Our art teacher, Mrs Savage didn’t follow a particular curriculum.
Q. Where did you meet and how did you start working together?
Andy: At the RCA from 1988 to 1990, I shared a studio with Paul and other founder member Nigel after Johnny Barnbrook moved out.
Huw: Paul was my tutor at Central Saint Martins (art school) and three years later I worked with Paul and Andy on an exhibition at the RCA.
Q. What were your earliest design commissions?
Andy: A logo for my best friend - a mobile hairdresser (stolen from an ERCO ad in Blueprint magazine) and local stuff in Leeds, then friends of friends’ shops and bands.
Paul: At school we found a group of break-dancers in an underground car park in Derby. We asked them to come into our school and do a gig. I designed the flyer - heavily influenced by the constructed typefaces in The Face, complete with halftone dots rendered in gouache.
Q. How would you characterise the perfect relationship between designer and client?
Andy: Mutual respect, un-bullshity.
Huw: One that trusts your opinion and appreciates that you are doing everything in your ability to give them the best job you can.
Paul: Relaxed, trusting and with no hidden agendas.
Q. What, if anything, do you consider to be your trademark?
Andy: GTF’s trademark would be the thoughtful consideration of purpose and production.
Huw: It would be good to think that it wasn’t as mannered as a trademark, but in reality, although you might try and avoid it, there are always going to be comfortable places that you go back to.
Paul: Unavoidable as it is, I hate the idea of having a trademark. I think our’s are self-evident.
Q. What would be your ideal job?
Andy: A Camper van concept for the new Volkswagen microbus.
Huw: Ever - in graphic design?
Paul: Probably something geeky.
Q. What is your favourite piece of your own work?
Andy: The Royal College of Art prospectus
Huw: Plenty of things still look good. A selection to follow, though I can’t necessarily take credit for them:
* a Jo Gordon Christmas card that was die-stamped through the envelope to make the card
* the Macbeth poster that Paul and Andy did before I knew them
* Oki Nami neon sign
* the Science Museum Digitopolis EL's
* The Globe publicity from 2003 with Nigel Shafran's photography
* various Habitat press releases
* Design Museum logo
Paul: No outright favourite, but the Habitat SS02 press release is a good one because most of the studio was involved in some way: model-making, photography, font-mongering etc.
Q. What is your favourite piece of graphic design in general?
Andy: Nothing stands out, I won’t try and force it.
Huw: Today it’s the General Electric logo and the deli just off the Ramblas in Barcelona with the full-bleed-product window.
Paul: That’s like asking: ‘What’s your favourite song?’ Today, it could be
Hipgnosis/George Hardie’s 10cc - How Dare You! record sleeve.
WHAT IS GRAPHIC DESIGN? AS BUZZ WOULDEN'T POST
BRINGING TOGETHER THE GLOBAL CREATIVE COMMUNITY FOR EDUCATIONAL AND ECONOMIC BENEFIT THROUGH THE PHILOSOPHY OF THE BOOK 'DESIGNERS ARE WANKERS'
The Basics
What is Designers are wankers?
It's a book by product designer Lee McCormack that helps students, graduates and professionals gain further understanding of the creative industry. It's also this site, and the community formed around it.
What is the point of all this?
To sell the idea to you and to the creative industry in general that we all need to help each other - especially those without the skills that they need to enable fruitful creative endeavours - be they business, social or any related materials that aren't dished out at college.
Who's behind all this?
Inspired by the book of the same name, it's supported by the writer and publisher as a way of communicating the ideas and ethos of the book.
What is Plebsville?
It's a creative community for people who believe in what we are trying to acheive and want to be a part of it.
What is a pleb?
It's you (in the nicest possible way). It's the vast majority of us. Lack of assistance and guidance from creative industries leaves most of us floundering around like a wet spaniel at a salami convention. No matter how talented or creative you are, at some stage you will need to pick the brains and communicate with others and that's where we come in.
How do I join Plebsville?
That's easy, CLICK THIS
What's is going to cost me?
Nadda, nothing, zilchio, not a penny, diddly-squat (need we go on?)
What's the catch?
There is no catch, we will not contact you selling crap, we will not use your personal details for any devious / deviant means.
Plebs and Plebsville
What do I do in Plebsville?
Write a profile of yourself so people can see what you're about, then use the portfolio to store your work and things that interest you and may interest others. Use it to promote yourself and communicate with the rest of the creative community.
How do I talk to other plebs?
Add them to your plebnet then send them an email.
What is a plebnet?
It's a pond of plebs. It's where you store your contacts.
What do I talk to plebs about?
What ever you want, but ideally it would be best to keep it creative. Treat others as you would like to be treated; naughtiness / abuse / racism will result in your account being wiped. You can contact us if you want to report a crime
How do I invite my friends to become plebs?
You press the 'INVITE PLEB' button in my account box (under your profile)
What is the randomised plebnet?
It's a neat way of meeting new plebs and expanding your influences. Move your pointer over the dots, then click on one and it will take you to a randomly selected pleb.
HUGO
Who (or what) is HUGO?
HUGO is our online human search engine. Predominantly run by Richard Bucht, of Waterstone's Art & Design bookshop in Covent Garden, London (he's a clever guy). On this site his guidance is impartial and confidential. HUGO is also the gateway to the other Gurus on the site.
What do I ask him?
Utilise his knowledge of art and design and his skills as creative mediator. Any questions that he feels would be of interest to the other Gurus will be passed on via him.
How do I ask him?
You email him from his profile page
Gurus
Who (or what) are Gurus?
Gurus are industry leaders or people we think are useful or special in some way. They are people who can communicate and share our goal of making the creative industry work harder to produce a new generation of talent. We cannot leave it up to the current institutions and establishment, its up to each of us. They are here to help you and provide guidance and assistance where and when they can
Why are they on this site?
Because they care and they want to help. It's also in their interests to keep an ear to the ground and nurture and harness new talent.
Can I talk to the Gurus like I can talk to plebs?
You can contact HUGO for guidance on design / art / literature by using the comment system on the blog or by sending him a message from your email account. You cannot contact the Gurus directly, but bear in mind that they will be keeping an eye on the site and if they like what they see they will get in contact with you. Gurus have a plebnet as well and they will contact and store plebs that they want to be in touch with.
Portfolios and Profiles
What do I put in my profile?
When you set up your account, you'll be asked the standard profile questions. Answer the questions honestly. It's what everyone will see… some questions are for a bit of fun, others you may want to expand on your creative endeavours with. Bear in mind that this site will help you, its not purely entertainment….. You add to your profile when you first sign up and can adapt and change the data at any time by clinking the manage account button in your profile. Include as much or as little about yourself as you feel comfortable with. The compulsory data to enter has a star next to it.
How do I get my portfolio seen by people outside the site?
You email your profile to them from the account
Other Stuff
What are brain eggs?
They are documents and other downloads that we think may be of use to you; legal documents, business contracts, interviews and stuff like that.
The Basics
What is Designers are wankers?
It's a book by product designer Lee McCormack that helps students, graduates and professionals gain further understanding of the creative industry. It's also this site, and the community formed around it.
What is the point of all this?
To sell the idea to you and to the creative industry in general that we all need to help each other - especially those without the skills that they need to enable fruitful creative endeavours - be they business, social or any related materials that aren't dished out at college.
Who's behind all this?
Inspired by the book of the same name, it's supported by the writer and publisher as a way of communicating the ideas and ethos of the book.
What is Plebsville?
It's a creative community for people who believe in what we are trying to acheive and want to be a part of it.
What is a pleb?
It's you (in the nicest possible way). It's the vast majority of us. Lack of assistance and guidance from creative industries leaves most of us floundering around like a wet spaniel at a salami convention. No matter how talented or creative you are, at some stage you will need to pick the brains and communicate with others and that's where we come in.
How do I join Plebsville?
That's easy, CLICK THIS
What's is going to cost me?
Nadda, nothing, zilchio, not a penny, diddly-squat (need we go on?)
What's the catch?
There is no catch, we will not contact you selling crap, we will not use your personal details for any devious / deviant means.
Plebs and Plebsville
What do I do in Plebsville?
Write a profile of yourself so people can see what you're about, then use the portfolio to store your work and things that interest you and may interest others. Use it to promote yourself and communicate with the rest of the creative community.
How do I talk to other plebs?
Add them to your plebnet then send them an email.
What is a plebnet?
It's a pond of plebs. It's where you store your contacts.
What do I talk to plebs about?
What ever you want, but ideally it would be best to keep it creative. Treat others as you would like to be treated; naughtiness / abuse / racism will result in your account being wiped. You can contact us if you want to report a crime
How do I invite my friends to become plebs?
You press the 'INVITE PLEB' button in my account box (under your profile)
What is the randomised plebnet?
It's a neat way of meeting new plebs and expanding your influences. Move your pointer over the dots, then click on one and it will take you to a randomly selected pleb.
HUGO
Who (or what) is HUGO?
HUGO is our online human search engine. Predominantly run by Richard Bucht, of Waterstone's Art & Design bookshop in Covent Garden, London (he's a clever guy). On this site his guidance is impartial and confidential. HUGO is also the gateway to the other Gurus on the site.
What do I ask him?
Utilise his knowledge of art and design and his skills as creative mediator. Any questions that he feels would be of interest to the other Gurus will be passed on via him.
How do I ask him?
You email him from his profile page
Gurus
Who (or what) are Gurus?
Gurus are industry leaders or people we think are useful or special in some way. They are people who can communicate and share our goal of making the creative industry work harder to produce a new generation of talent. We cannot leave it up to the current institutions and establishment, its up to each of us. They are here to help you and provide guidance and assistance where and when they can
Why are they on this site?
Because they care and they want to help. It's also in their interests to keep an ear to the ground and nurture and harness new talent.
Can I talk to the Gurus like I can talk to plebs?
You can contact HUGO for guidance on design / art / literature by using the comment system on the blog or by sending him a message from your email account. You cannot contact the Gurus directly, but bear in mind that they will be keeping an eye on the site and if they like what they see they will get in contact with you. Gurus have a plebnet as well and they will contact and store plebs that they want to be in touch with.
Portfolios and Profiles
What do I put in my profile?
When you set up your account, you'll be asked the standard profile questions. Answer the questions honestly. It's what everyone will see… some questions are for a bit of fun, others you may want to expand on your creative endeavours with. Bear in mind that this site will help you, its not purely entertainment….. You add to your profile when you first sign up and can adapt and change the data at any time by clinking the manage account button in your profile. Include as much or as little about yourself as you feel comfortable with. The compulsory data to enter has a star next to it.
How do I get my portfolio seen by people outside the site?
You email your profile to them from the account
Other Stuff
What are brain eggs?
They are documents and other downloads that we think may be of use to you; legal documents, business contracts, interviews and stuff like that.
future milk cravendale?
Cravendale & YCN present Future Milk Design Competition
On Monday Cravendale, in partnership with the YCN, launched the Future Milk design competition. Future Milk is a design competition that is open to anyone over the age of 16, focusing on milk packaging in the next 50 years.
It encompasses both structural design and on-pack graphics. From now until 20th June people have the opportunity to submit their designs online, via Cravendale's website or through the post. People can also vote for their favourite 'Peoples Choice' design via the same link.
The best designs, as chosen by an influential design panel will win cash prizes (first prize is £1,000 then £300 and £200), a special Cravendale trophy created by the YCN and the chance of a work placement with one of the top London creative agencies.
For more information please visit Future Milk.
Over the summer with any spare time I get I thinki am going to enter a few competitions and practice working to live briefs. It is something that I will enjoy as i am quiet a competative person and so thismay be good for me against other graphic designers it may also widen my knowledge and get to look at other work.
balls to bulfighting competition
Balls to Bullfighting!
Bullfighting is a cruel and unnecessary pastime in which the severely disadvantaged bull is tortured over a prolonged period before meeting almost certain death.
In a recent independent poll we learned that 89% of the British public would never visit a bullfight and that 76% believe it is wrong for the tourist industry to promote bullfighting.
The League Against Cruel Sports want to take that message to the tour operators, holiday companies and establishments that promote bullfighting to let them know that tourists in Britain want no part in this disgusting so-called tradition.
We are looking for talented designers to come up with a T-shirt design that promotes the ‘Balls to Bullfighting’ message. By the end of the summer we hope everyone from musicians to soap stars and comedians will be wearing the T-shirt with pride and saying … ‘Balls to Bullfighting!’
Sign our World Wide Pledge
If you want to take action right now sign the World Wide Pledge never to visit a bullfight anywhere in the world.
Who is the League Against Cruel Sports?
The League Against Cruel Sports is a charity which aims to rid society of cruelty to animals in the name of sport. The League has been campaigning for this cause since 1924 and is currently working with Spanish animal welfare groups to promote an alternative to bullfighting and help bring about the end of this cruel and obsolete activity.
The League care about how animals are treated and know that many, many people feel the same way through support for its campaigns for positive change.
Find out more about their campaign against bullfighting here.
Bullfighting is a cruel and unnecessary pastime in which the severely disadvantaged bull is tortured over a prolonged period before meeting almost certain death.
In a recent independent poll we learned that 89% of the British public would never visit a bullfight and that 76% believe it is wrong for the tourist industry to promote bullfighting.
The League Against Cruel Sports want to take that message to the tour operators, holiday companies and establishments that promote bullfighting to let them know that tourists in Britain want no part in this disgusting so-called tradition.
We are looking for talented designers to come up with a T-shirt design that promotes the ‘Balls to Bullfighting’ message. By the end of the summer we hope everyone from musicians to soap stars and comedians will be wearing the T-shirt with pride and saying … ‘Balls to Bullfighting!’
Sign our World Wide Pledge
If you want to take action right now sign the World Wide Pledge never to visit a bullfight anywhere in the world.
Who is the League Against Cruel Sports?
The League Against Cruel Sports is a charity which aims to rid society of cruelty to animals in the name of sport. The League has been campaigning for this cause since 1924 and is currently working with Spanish animal welfare groups to promote an alternative to bullfighting and help bring about the end of this cruel and obsolete activity.
The League care about how animals are treated and know that many, many people feel the same way through support for its campaigns for positive change.
Find out more about their campaign against bullfighting here.
papa johns ad by saatchi & saatchi
clever advertising inspires ppoints of my graphic design understanding. Thinking about target audiences and the way that they interact with the advert makes the design more intresting in the way that they read the advert.
The award won gold at the recent cannes international advertising awards
typographic hunt.//wearebuild.com D&AD
The block of solid colour with teh curved edges give teh type a contemporary feel that has impact to teh audience.8x A5 postcard set [+ A3 folded poster] enclosed in a custom foil blocked slip case. Forms part of the print communication of the D&AD 'Global Nominations Awards exhibition 2007'. Under the title 'Ideas are Fragile' we applied the Global Awards icons [also designed by us commissioned by Saatchi & Saatchi, London] to sheets of glass, which were then dropped and photographed shattering at high speed by Jason Tozer. In conjunction with This is Real Art.
//wearebuild.com
although i have gone of design with no meaning i still like to research into the asthetical designs as i do enjoy looking at them and si picked out this design from wearebuild.com
typographic hunt.
similar to the previous font i found thsi one i feel had more impact working with colour and an illustrative style make teh font more asthettically pleasing.
Die line packaging
One more interesting package from Japan. I don't have any background on this so if anyone here does please comment. I thought the simple concept of body wash in a body worked well.
Die line packaging "naked crisps"
Tyrrells chips UK are wonderful snacks into very good packs. I don't know the name of the agency who did it but I think that this design underlines the value of the product itself, adding some ironical images (in the basic line), some illustrations similar to the ones shown in botanical catalogues (in the natural line).
The use of typography is calculated and used to enhance a feeling of preciousness underlined also by the selection of images.
hopes & dreams
As I stated earlier in my blog i am using helvetica too much and don't want to use the font in my designs if it isnt nessercery and so I am widening my knowledge of typographic design. I found this hopoes & dreams and found tehcompostion mixed with subtle imargery interesting as it made a focal point around the font.
apple ad vs the postal service
Keeping with the same subject as below, This controversy happened a couple of months ago. The Apple add Is obviously a blatant rip off of the postal service “such great heights” video! The odd thing is that it is by the same production company! and very unlike Apple to Rip-off unknowingly borrow another company’s idea!. see the youtube video here (postal service on the left)
Smile
DESCRIPTION
Poster and programme for the 11th edition of FIHUM, International Humour Festival, organized by the Teatro Alfil in Madrid.
PROCESS
The simple concept of the most known gag –to slip on a banana skin– was the idea to represent humour. This idea could have been presented as an illustration, but perhaps it would be more interesting to take a picture of real elements with pre-designed signs, similar to what was done for MUSAC.
Serial cut
DESCRIPTION
A 68-page promotional publication for the new Contemporary Art Museum of León, MUSAC, which focuses on art from the last 10 years.
PROCESS
The museum gave full free creativity for the layout, and the only aim when this book was given out at the ARCO’05 Contemporary Art Fair in Madrid was “to create a publication that people would keep as a collector’s item”. The idea was to create a special layout with a lovely typeface and some conceptual photographs to explain each area of the museum. Most of these photographs had some designed elements, which were first cut and put into the picture background, to be then photographed as real life elements. The art direction and the concept was definitely to make it special.
Thursday 5 June 2008
Seaking from experience brief
alt=""id="BLOGGER_PHOTO_ID_5208463806891611186" />I created an outcome for people within college that feel that they have to make an effort at college and so i created a poster that gives you reasons for have a white t-shirt day. You then wear teh t-shirt as shown in pride.
Avant garde
I have developed a strong & strange passion for avant garde gothic pro. although i can't find it anywhere to download it. I may have to buy it. Although i am still very keen on helvetica I find my self using it too much and so i want to explore different typefaces. I found avant garde and found it was inbetween helvetica and futura 2 of my favourite typefaces.
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