OUDG404// Large Publication 01

Interpretation of the brief and Aims //

As this brief asks us to produce a book containing a minimum of 10 double page spreads, I want to investigate something personal to myself, ideally combining an interest and new design style. To me this is the first brief giving us true creative freedom, I don't want to miss out on this opportunity and produce a boring publication. I intend to do something slightly unconventional, ideally involving collaborative practice and investigating ways to interact the viewer. As production is not a huge strength of mine, when the time comes to resolve an outcome I want to push what I already know to produce a well-bound and structured outcome. Regardless of subject content, I intend to follow the design principles we have learnt so far, incorporating a grid to provide a clean and structured layout, whilst improving my InDesign skills.

After concluding my second publication for Design Principles would be a look book/style file, I chose to collaborate with a photographer attaining a higher professional element. All photo's shot by Claire McClean, BA (hons) Photography, whilst subtly art directed and selected by myself.

Research //

Using a muted colour scheme to create a range of compositions. The overlay of image and text works in harmony and looks like it belongs on the page, whilst not disturbing the compositional elements going on. Technically this would be a postmodern style trait if one followed the 'Form Follows Function' rule to the tee, yet the use of white space and simplistic images conveys a Scandinavian tone, thus re-relating to modernist design principles. (?) 

Incorporating key colours to create an unusual and unconventional layout. This cover design by Shelby White perfectly articulates the break down of genre conventions we can experiment with as 21st century designers. This cover technically goes against the rules of modernism with it's centre alignment and harsh colour contrast. However, the sleek San-Serif and two colour structure maintains an elegant quality, suggesting this publication would be targeted at a wealthier demographic, aided by the sleek tailoring in the photograph.

The additional sleeve idea introduces a textural quality to the publication, adding a curiosity hopefully desirable when viewed on a book shelf. The contrast of a pastel'd colour with black and white photography communicates a crisp design style, proving to be a timeless combination. The peach shade suggests a feminine undertone, juxtaposing with the crisp geometric typography and architectural structure. This could be an idea to pursue for my own look book, the concept needs to apply for both genders and subsequently not be too heavy on any stereotypical female/masculine colours. I feel the combination of industrially and femininity creates a very trendy gender neutrality, an aspect I definitely want to pursue.

Lookbook Shots //

This is day 01 of taking photos of people, 01/03/16 12-1pm. When taking the shots, we were stopping individuals and people asking what we were doing, getting the name and course of everybody photographed. I have tried to incorporate all aspects of fashion and the personality it showcases.

We will take more photographs tomorrow (02/03/16), as well as Friday 04/03/16 and next Monday, Wednesday, Friday (7th, 9th and 11 March).

Possible spreads with current images //

More shots //

Unfortunately Claire (the photographer) and I have had to cut down on the quantity of photoshoots possible. Due to working with specialist timetabling issues have become a huge problem, with us very rarely sharing free time within the hours of 9 and 3:30pm. I had intended to include the Vernon Street campus within the outfit selection, yet this has proven to be logistically too complicated considering the Photography timetable and workload.

I have found asking people for their photo the biggest challenge so far. Fortunately the majority of people were fine about it, yet some did decline or say it wasn't possible to put online etc. It was understandable that some people would be adverse to having their photograph taken, yet I feel I need to prepare myself for more of it in the future, especially if I broadened projects to full street style.

Looking back I wish I had been more confident and asked people as soon we saw them, rather than trying to catch them on their own/not sat in a large group. In addition, many funky outfits were visible in class rooms, yet Claire at the time I didn't really want to bother them, yet looking back I regret this decision.

Possible layout sketches //

I want to experiment with a range of layouts to create an energetic and unfluid compositional arrangement, yet in a sequential way that they all work together and can be easily adaptable so not looking out of place. To aid any busy compositional pages I intend to use a simplistic typeface, ideally not detracting from the photographs on the page. I hope this sporadic layout intrigues the viewer and adds a diverse twist.

OUDG406// A Licence to Print Money 01

Interpretation of the brief //

My interpretation of the brief 'License to Print Money' is to investigate the possible messages a bank note can convey. As currency goes through almost everyones hands, I want to explore this platform to convey a message, possibly of the world around us or serious problems we all face today. I want to explore an illustrative style, selecting the most appropriate traditional print technique to broaden my design skills and fuel experimentation. My aims are to produce a technically sound bank note (or range of bank notes) to exhibit at Bank House, as well as exploring the biggest issues of today creatively.

Current Bank Notes //

Litho, Intaglio are unfortunately unavailable for a 'traditional' print, yet alternatives include Screen Printing, Mono printing, Lino Printing and even stencilling. Letterpress is still a strong option, possibly one to incorporate allowing a fluid transition from the current bank notes to the exhibition piece.

As the bank notes are soon moving over to Polymer, as currently implemented in Australia, the production of a traditional print on plastic, acetate or vinyl could be avenues to explore. Alternatively, the stock choice will need to convey the same message as the one on the note. If I opted to design a ultra modern bank note, perhaps a grainy stock or fabric would be less appropriate than a polymer-esc material.

Alternative Bank Note research //

Behance showcase's a range of currency, created by young and evolving designers, exploring colourful and creative modes of communication. As these are digitally rendered outcomes, I will need to keep considerations in mind for printing, especially where fine detail/small type is concerned.

Sourced from Behance and created by an unknown artist, the vivid use of colour and texture embodies friendly Dutch culture, alongside the visual content showcasing their unique heritage. A range of type sizes have been used, suggesting a digitally rendered outcome or Letterpress production. The strong use of blues and reds suggest the colours of the Dutch flag, alongside the typeface resemblant of Din, the typeface of choice for numberplate throughout most of Europe and Scandinavia.

Created by another unknown artist, the immense detail is barely visible without zooming in. The soft colour gradient gives a three dimensional perception, suggesting the animals are practically coming off the page. The complementary colours suggest a warmth, contrasting with the current perceptions of Greenland/Denmark who generally associate with colder colours. Again, a link is made between bank note design and cultural heritage, exploring the polar bear and aquatic life with a subtle air of remembrance and admiration. 

A slightly more abstract take on a bank note, created by New York designer Bryan Rodriguez. Her colourful style reflects the current Graphic Design trends, suggesting the could become outdated fairly quick due to their busy graphical nature. The choice of warm colours and imagery reflect the culture of Mexico (and other Latin American cultures), exploring all aspects of society. If a design like this was traditionally printed, opting for a two/three colour Screen print may be the most effective, allowing detail, tone and photography to still be prominent. 

Again exploring colour and composition through bank notes. On the left is an example of Australian currency printed on Polymer. The fine detail is still achievable when printing on plastic, with subtle linear components running through the Australian Design similar to ours. An unusual choice of typeface has been chosen for the numeric value, with the first digit being slightly larger in scale than others. Perhaps this is for instant legibility or suggesting reform?. In all examples of currency, colour has played a huge part in suggesting the cultural significance, alongside further perpetuating the reason why the banknote was created. Martin Woodtli's Swiss banknote design is iconically Scandinavian, incorporating the national flag on a crisp colour background. A vertical composition has been chosen adding another intriguing dimension to the modern note. Perhaps this is to suggest evolution and modernity, other than fulfilling a practical purpose?

The production of money in vast quantities. To produce this with the resources available would be most possible via screen print, with the screen print process allowing multiple reproductions of the same design fairly quickly.

Bank Note Exhibition //

Money Talk Exhibition, Manchester earlier this year was the perfect opportunity to explore the meaning of money and all the associations in history and society.