PROJECT 3: SKETCHING, TYPOGRAPHY & VISUALISATION
PERSPECTIVE
Playing around with:
- Horizon and eye-line placement
- ‘Fences’ and chessboards
- Shapes in space
- Ellipses and cylinders
- Freehand vs. rulered
- 1-point and 2-point perspective
INTRODUCTION TO TYPOGRAPHY
RESEARCH AND PLANNING
- 1930’s socialist realism – propaganda focusing on traditional values, depictions of the proletarian class and ‘worker hero’ ideal, clean, solid shapes and angles – sense of stability
- El Lizzitzky & Constructivism – early 20th Century, rejection of the traditional and embracing of the modern, industrial – abstract, geometric shapes, strange angles of shapes and text
- Similar colour palettes; predominantly black, white and red – colour associations of revolution and rejection of Russian traditionalism (particularly post and during the Civil War – ultimately the victory of the Communist ‘Reds’ over the anti-Bolshevik ‘Whites’)
THUMBNAILS
I found fitting the given text into the designs the most difficult aspect, which led to the designs looking over-crowded and top heavy. I also made mistakes in not proofreading properly, which led to a repetition of the title in each piece.
INITIAL ATTEMPTS
REVISITED DESIGNS
I still struggled with arranging the type within the righthand design, so while updated, I don’t think I particularly improved this design.
FEEDBACK
- Portrait design: The thin columns in the bottom right read poorly, and my use of justified text has created strange shapes within the text body.
- Landscape design: Different paragraph widths of the top text segregate them and prevent them from appearing as continuous text.
FINAL OUTCOMES
RESTRICTIONS USED
- 160mm x 160mm: One type family, unlimited variants and sizes
- 100mm x 245mm: One typeface in one size, unlimited weights
- 207mm x 115mm: Two typefaces in two sizes
THEATRE POSTERS
BRIEF
To create a selection of visuals of potential theatre posters for a chosen play in portrait format, experimenting with the process of initial ideas through development and production of the final client visuals. I chose The Man Who Came to Dinner as I thoroughly enjoyed the play and the busyness of the narrative offered a range of interesting aspects to explore within the posters.
RESEARCH AND PLANNING
- Largely relatively minimalist in design
- Greatest type focus on the title with secondary additions of author, composer and actor names; although not present in all pictured.
- Images used link to key aspects of the plays
- Largely depict singular picture/focus
- Flat and inoffensive backgrounds
THUMBNAILS
I tried to make as many individually unique thumbnails as possible to give me the broadest starting point I could manage.
I tried leaving and coming back with fresh eyes rather than doing them all in one go, as well as drawing them alongside watching the play to maximise idea generation.
DEVELOPMENT
I felt the initial design was too crowded to focus the viewers gaze specifically, so experimented with ways of keeping the feel of the initial design while disposing of unnecessary aspects.
I disliked the results of this experiment, I was not as happy with the attempt to integrate human faces into the design style as I was the inanimate objects that featured in the others.
FINAL CLIENT VISUALS
