OUGD505 Format and Layout

In today's session we were set two short tasks concerning the format and layout we would use with the information and images we were given.

For the first task we were required to create an A5 flyer promoting an exhibition at the MoMa in New York. We could only use black and white and had to use the logos for 'Jackson Rising' that we were given. We were given 45 minutes in which to create the flyer.

Layout 1 – Minimal Text / image:

Background:

This simple layout will ask you to utilise a short amount of body copy, title, date, and location. The minimal amount of text allows for the simple use of single imagery and the type to serve as the main visual elements.

Brief:

You are asked to produce a simplistic flyer design for Jackson Rising Exhibition at MoMA (Museum of Modern Art – New York) using the instructions below.

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Specifications:

Format: A5 – Portrait

Title: Jackson Rising

Sub-Title: Curated by Jenny Dowd

Date: August 3, 2014 - August 31, 2014

Copy: Four artists met at an artist residency at the Ucross Foundation in 2013, now they come together to inhabit at MoMA, New York.

Location: MoMA, New York.

Contacts:

info@jacksonrising.com

www.jacksonrising.com

www.moma.org

Image: Jackson Rising ident / MoMA logo / NYU logo

Use of two colours only: Black and white

(Use embedded InDesign file and follow grid.)

Save as PDF file.

Below are my responses in the time period given:

I chose the final version as my finished flyer.

Task 2 involved us making a brochure for the exhibition, this time taking into account much more text and image other than just the logos.

Jackson Rising

Background:

This text/image heavy layout will ask you to utilise body copy, title, date, and location, heading, sub heading, imagery, indexes, highlighted quotes. The amount of text allows for the use of imagery and the type to serve as the main visual elements.

Brief:

You are to layout and design a 10-page concertina folded brochure for a forth-coming exhibition titled ‘Jackson Rising’ at MoMA, New York. All images, copy and branding are included. You have to create a visually stimulating layout that showcases the artists’ imagery but does not sacrifice important information in this process. The images and information must flow harmoniously and offer a taste of what is to be expected during the exhibition.

Branding elements must be kept to black and white. Images must be unaltered and in colour.

Considerations:

Headings, headlines, body copy, grid, type, colour, image sizing, bleed, margins, flow, audience, narrative, language, purpose, size, external print methods, preparing for print, stock, distribution.

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Specifications:

Format: A5 x10 – Portrait – Concertina spread (front and back).

Title: Jackson Rising - Curated by Jenny Dowd

Dates: August 3, 2014 - August 31, 2014

Location: 11 W 53rd St, New York, NY 10019, United States

Introduction:

Four artists met at an artist residency at the Ucross Foundation in 2013, now they come together to inhabit at MoMA, New York.

List of artists:

Ruth Boerefijn

Lindsey Glover

Mayme Kratz

Jenny Dowd

Ruth Boerefijn:

My process is experiential. I make visits beyond my self: to Iceland, to the store where the fishermen buy their supplies, to the library.

The feel of manuscripts, photographs and maps give my hands something to articulate when later, in my studio, they work knotting and looping lengths of fishing line. It loses form over time, and can be reshaped; it is resilient. The line is a symbol of connection, of reaching into the depths for nourishment.

The colored paper is cut from my own drawings from nature-imprinted with other narratives and perceptions-through which I punch holes as a way of forging through them to get to the act of new expression.

Text is also a material with a memory and a shape. I struggle to arrange words so they can articulate beyond history to character, story, felt experience, and new possibility.

Lindsay Glover:

Using multiple projections, Lindsey Glover transforms the Loft into a space for the exploration between perception, memory and experience. She collects photograph and video images that are later re-examined to find parallels in context, all the while focusing on the capture and storage of time.

Mayme Kratz:

Mayme Kratz creates art from the natural life of the desert that surrounds her Phoenix home and studio. Viewing collecting as a way of archiving memory, she assembles a variety of natural forms—tangled birds’ nests, feathers, bones, seeds, snakes, and cicada wings—and captures them submerged in resin to create rhythmic, abstract sculptures and reliefs. “My collected specimens celebrate the endless cycles of change and rebirth in nature,” Kratz has said. In addition to these hanging and freestanding works she has also created a variety of videos and installations, including an interactive outdoor sculpture made of found tumbleweeds meant to disintegrate over time.

Jenny Dowd:

Jenny Dowd explores space and movement with a series of steel and Egyptian Paste vessels. The boats hover, dive and flock overhead while exploring the gallery in a playful dialogue.

Contacts:

Ruth Boerefijn: www.ruthboerefijn.com

Lindsay Glover: www.lindsey-glover.com

Mayme Kratz: www.maymekratz.com/

Jenny Dowd: www.jennydowd.com

info@jacksonrising.com

www.jacksonrising.com

www.moma.org

Image:

Jackson Rising ident / MoMA logo / NYU logo

Multiple Artist imagery

(Use embedded InDesign file and follow grid.)

Save as PDF file.

Print proof copy if possible.

Again I found that I was able to do more in the time we were given and so made two fairly different brochures.

Brochure 1:

Brochure 2:

The main thing that I learnt from doing these exercises is that I can develop quite a large quantity of work in a short time period, as we were only given a couple of hours to complete these.

OUGD504 Design For Print Task 3

Branding and Identity:

Embossing

Embossing is the process of creating a raised image or design on paper or some other materials. Debossing pushes the image in so it falls below the surface of the paper. Both these process can be costly depending on stock used (those which require more time to be embossed are more expensive eg copper plate).

Embossing gives an expensive looking finish and often works best when kept fairly simple. It is often most used for business cards and other branding ephemera.

Embossing is most effective on an uncoated stock, as with many print processes, because uncoated stocks absorb the ink more than coated stocks, which allow the ink to sit on the surface.

Die Cutting

Die cutting is a process that allows the designer to cut out a feature of their design, giving it more interesting and innovative detail. It is a similar process to laser cutting and removes part of the surface, either to show something beneath or to just have a cut in the design.

This design used die cutting to reveal the metallic stock underneath, showing that the die cut is being used for functionality.

Stop Varnish

Spot varnishes are very varied and are used often within the field of branding and identity. A UV spot varnish adds a very shiny finish, especially on coated stocks. As a process, it allows the designer to exaggerate an element of their design or highlight it if it is a point of interest.

Lamination

Stocks can be either gloss or matt laminated, both of which add a protective casing to the stock and preserve the design, but gloss gives a much shinier finish than matt.

Matt laminated

Gloss laminated

Design Principles - Speech Made Visible

In the session we made up a list of 10/11 accents that we were then to try embodying in a typeface, putting emphasis of certain words that are emphasised in the accent.

Geordie

I kept Geordie a simple Gothic type, softened by the curved ends which contributes to the friendly nature of the accent. I put emphasis on the 'Who' and the 'you' and made it quite large as a Geordie accent is so different from others around the world that it demands attention.

Welsh

I incorporated a traditional celtic style for the Welsh accent as I find the Welsh are usually very proud of their heritage, but the phrase is modernised after the first letter.

Yorkshire

I kept the Yorkshire type simple and bold as there are more accents within Yorkshire, and it is a very broad accent, so this way I could make this type applicable to a few variations of accents within Yorkshire.

Irish

For irish I used quite a celtic style, putting emphasis on the 'you', although it could also be put on the 'are' depending on the tone in which it is being said. I made the whole thing quite a large point size for such a recognisable and noticeable accent.

Pirate

For the Pirate accent I chose a typeface similar to the script nature of a treasure map, with emphasis on the 'are' to exaggerate the 'arrr' noise.

French

For French, I chose to look at animated representations of the French and this decorative, OTT type came up a lot. I made he 'Who' slightly larger to put the correct emphasis on the throaty noise made by a french accent on some words.

Essex

An Essex accent is another hugely recognisable accent so it was important to make it appear different to the others. I chose a quite playful and disjointed typeface to represent the individuality of the accent, and emphasised the 'you' in a larger font.

Scouse

For the Scouse accent I wanted to put some emphasis on the throaty noise that it made for some words and this scratchy scribbled type I think could be compared to that.

Jamaica

For Jamaica I used Bob Marley as a reference and tried to replicate a carefree and relaxed attitude to the type and decided on using a simple and childlike script type. I emphasised the 'are you?' part to represent the really strong jamaican accents that are sometimes difficult to decipher.

Russia

I chose bold lettering for the Russian accent as a lot of people will put it in conjunction with Russia, and it demands attention from the reader.

Australian

I chose a simple hand rendered type for the Australian accent, it appears relaxed and calm like the nature of the accent. I put emphasis on the 'are' as a lot of emphasis is put on 'a's in the accent.