The concept I have decided to developer further is the concept titled “mirror”. However it has merged with a second theme, title sequences. It became apparent while discussing the idea with John Clamp that whilst the breadcrumb trail (depicting storytelling) concept was good. The design also inadvertently relates to an opening title sequences for film. Taking both these themes further may provide a result which is more interesting to a viewer.
Using the title sequence concept it reconstructs the cover as a screen while also relating to print and typography. Like film, it also represents the opening of the content.
Using the breadcrumb typographic layout will give a further more meaningful description of the series. It will transcend the literal meaning of the words, instead creating a metaphor for the meandering, sometimes non-linear, storytelling at the core of all films which Faber are related to.
However form must follow function, so the functionality behind the design must be kept.
In using these concepts the book cover becomes an object in itself.
Wednesday, 4 March 2009
Monday, 23 February 2009
D & AD
For the last week I have been developing some ideas for the d&ad brief. I have come up with six concepts which are outline below.
Concept: “Swarm”
This concept plays on “faber and faber” long illustrious history in typography.
The swarm of type illustrates the volume of publications which “faber and faber” have published throughout the years. The logo sits in this swarm emphasizing its origin. The title for this book drives out of this past typographic history to become yet another publication for the company.
The large number represents the series number. This number portrays the viewer that this is part of a series.
If developed further the swarm would take on a much more organic look, much like the look of a swarm of bees. The emphasis here is representing faber and faber as a living organism. This swarm would travel around the book cover, not just confined to the front
Concept “The Box Office”
This concept is built around the direct relationship between the book series theme, film and physical aspects of the cinema (Box office LED’s). The type used will be the same as that seen on the box office board.
The ink used to print this cover would be florescent. This would glow red in the dark again emphasizing the link with the physical cinema. It would also provide a digital feel to the book, showing the modern cinema as opposed to the old.
If developed further it could be an option to relate to the early cinema as well as the modern cinema. This would create a historic sense for the cover, as it portrays a timeline from the past to the present.
This relationship might also encompass the florescent ink. When it in daylight the type looks like the very early cinema box office signs. In the dark it lights up much like the modern day box office.
Concept “Old and New”
This concept again plays on “faber and faber” long illustrious history in typography. The covers type will be sliced in two. The left side is represented by a type which is relatable to the past. The right is a more modern type.
Its design represents faber and fabers long history by emphasizing when/where they began and the point which they are now at, a modern publishing company. In this way a timeline for the company is created.
All this portrays a company with a long standing history of excellence in publishing and typography.
Concept “Mirror”
This concept is like the box office idea where it is built around the direct relationship between the book series theme, film. However this time it’s the non linear storylines of modern movies.
The type design is a breadcrumb trail for the viewer. The book needs to be interacted with in order to see the full title. The interaction in this case been the viewer needs to physically turn it over to see the full title.
Through this design the title it is also more easily read when the book is opened by the user. This might be an irrelevant fact as the user cannot see the cover when reading. However an onlooker will see this and instinctively try and read it.
Further development of this idea would lie in creating a more complex breadcrumb trail for the viewer to interact with. However it would need to balance in its readability as the cover also needs to be functional.
Concept “Interact”
This concept is simply based on interaction with the user and possible onlookers. The books interaction is housed in the positioning of the users hands when reading.
From first inspection the book cover looks like it’s built of type. However once the book is opened the users hand creates an illusion that their hands are holding aloft the cover title. This would be an unknown occurrence for the user as they would not be able to see the cover and hand position when reading. The onlooker is the intended target in this case. Unknown to them, the user becomes an unlikely advertisement for the book.
Further growth of this idea would encompass developing the position/layout of the type to interact with the hands in an imaginative way.
Concept “3D illusion”
This concept is based on converting the 2 dimensional surface of the book into a 3 dimensional one.
The perceptive would be completely created with typography. Mainly the “faber film” text and logo as all other text will be altered due to this been a POD book.
This book cover would represent “faber and faber” as a very modern company.
Concept: “Swarm”
This concept plays on “faber and faber” long illustrious history in typography.
The swarm of type illustrates the volume of publications which “faber and faber” have published throughout the years. The logo sits in this swarm emphasizing its origin. The title for this book drives out of this past typographic history to become yet another publication for the company.
The large number represents the series number. This number portrays the viewer that this is part of a series.
If developed further the swarm would take on a much more organic look, much like the look of a swarm of bees. The emphasis here is representing faber and faber as a living organism. This swarm would travel around the book cover, not just confined to the front
Concept “The Box Office”
This concept is built around the direct relationship between the book series theme, film and physical aspects of the cinema (Box office LED’s). The type used will be the same as that seen on the box office board.
The ink used to print this cover would be florescent. This would glow red in the dark again emphasizing the link with the physical cinema. It would also provide a digital feel to the book, showing the modern cinema as opposed to the old.
If developed further it could be an option to relate to the early cinema as well as the modern cinema. This would create a historic sense for the cover, as it portrays a timeline from the past to the present.
This relationship might also encompass the florescent ink. When it in daylight the type looks like the very early cinema box office signs. In the dark it lights up much like the modern day box office.
Concept “Old and New”
This concept again plays on “faber and faber” long illustrious history in typography. The covers type will be sliced in two. The left side is represented by a type which is relatable to the past. The right is a more modern type.
Its design represents faber and fabers long history by emphasizing when/where they began and the point which they are now at, a modern publishing company. In this way a timeline for the company is created.
All this portrays a company with a long standing history of excellence in publishing and typography.
Concept “Mirror”
This concept is like the box office idea where it is built around the direct relationship between the book series theme, film. However this time it’s the non linear storylines of modern movies.
The type design is a breadcrumb trail for the viewer. The book needs to be interacted with in order to see the full title. The interaction in this case been the viewer needs to physically turn it over to see the full title.
Through this design the title it is also more easily read when the book is opened by the user. This might be an irrelevant fact as the user cannot see the cover when reading. However an onlooker will see this and instinctively try and read it.
Further development of this idea would lie in creating a more complex breadcrumb trail for the viewer to interact with. However it would need to balance in its readability as the cover also needs to be functional.
Concept “Interact”
This concept is simply based on interaction with the user and possible onlookers. The books interaction is housed in the positioning of the users hands when reading.
From first inspection the book cover looks like it’s built of type. However once the book is opened the users hand creates an illusion that their hands are holding aloft the cover title. This would be an unknown occurrence for the user as they would not be able to see the cover and hand position when reading. The onlooker is the intended target in this case. Unknown to them, the user becomes an unlikely advertisement for the book.
Further growth of this idea would encompass developing the position/layout of the type to interact with the hands in an imaginative way.
Concept “3D illusion”
This concept is based on converting the 2 dimensional surface of the book into a 3 dimensional one.
The perceptive would be completely created with typography. Mainly the “faber film” text and logo as all other text will be altered due to this been a POD book.
This book cover would represent “faber and faber” as a very modern company.
Wednesday, 11 February 2009
D&AD: Discussion
Yesterday I had my first discussion with John Clamp about the AD&D brief. During this it became very apparent that the concept was by far the most important item. This was followed closely by the presentation of the design.
He mentioned that the concept was important because when being judged the design must catch the eye of the judge. The reason being he may have to look at thousands of entries. It was for this reason alone that it was imperative that the concept was imaginative/innovative while also being functional.
Next we dissected the brief pointing out areas which must be considered:
The design must express that it is a series.
The design must encompass each area of Faber Films (Screenplays, Collected Screenplays, Directors on Directing, Technique, Film Books, and Film History).
The design must be updateable.
The design must look well in print and online.
The design must incorporate “Faber Film” text as well as their logo (both being a discreet but integral part of the overall design).
Target Audience: Film Professional, Film & Media Students, and Gifts for film enthusiasts)
Finally the dimensions which the design needed to be designed with:
126mm by 198mm (standard paper back) and 135mm by 216mm.
To finish he recommended some graphic designers which may interest me, Robert Brownjohn, Saul Bass and Edward Tuft.
He mentioned that the concept was important because when being judged the design must catch the eye of the judge. The reason being he may have to look at thousands of entries. It was for this reason alone that it was imperative that the concept was imaginative/innovative while also being functional.
Next we dissected the brief pointing out areas which must be considered:
The design must express that it is a series.
The design must encompass each area of Faber Films (Screenplays, Collected Screenplays, Directors on Directing, Technique, Film Books, and Film History).
The design must be updateable.
The design must look well in print and online.
The design must incorporate “Faber Film” text as well as their logo (both being a discreet but integral part of the overall design).
Target Audience: Film Professional, Film & Media Students, and Gifts for film enthusiasts)
Finally the dimensions which the design needed to be designed with:
126mm by 198mm (standard paper back) and 135mm by 216mm.
To finish he recommended some graphic designers which may interest me, Robert Brownjohn, Saul Bass and Edward Tuft.
Brief: D&AD
The brief I have decided to undertake is a graphic design one sponsored by faber and faber. Here you can find there website.
Outline: Use typography to create a series cover design for Faber Film’s range of books that reflects Faber and Faber’s long history of typographic excellence.
To begin I have decided to research the area of typography and book cover design by sourcing various books on these subjects. These books are detailed below.
Typography:
Jury, David - Title: About face: reviving the rules of typography
McLean, Ruari - Title: The Thames and Hudson manual of typography
Chappell, Warren - Title: A short history of the printed word / Warren Chappell and Robert Bringhurst.
Bringhurst, Robert - Title: The elements of typographic style / Robert Bringhurst. Tschichold, Jan - Title: The new typography : a handbook for modern designers
Author Atkinson, D. W - Title: Grid systems in graphic design
Samara, Timothy - Title: Design evolution : theory into practice : a handbook of basic design principles applied in contemporary design
Elam, Kimberly - Title: Grid systems: principles of organizing type
Lidwell, William - Title: Universal principles of design: [100 ways to enhance usability, influence perception, increase appeal, make better design decisions, and teach through design]
Samara, Timothy - Title: Making and breaking the grid: a graphic design layout workshop (2005) Book
Jury, David - Title: What is typography? (2006)
McLean, Ruari - Title: The Thames and Hudson manual of typography
Cover Design
Drew, Ned - Title By its cover : modern American book cover design
Powers, Alan - Title: Front cover : great book jackets and cover design
Title: Fully booked : cover art & design for books.
I have also been looking at Faber Finds. This is the current Print on Demand service which faber and faber currently run for various back catalogue books. These books are very uninspiring!!! Below show two example of the POD template which each book is designed to. I am looking at these because the brief also states that the cover design will be for the Faber Film series of books which will also be published using this technology.
Outline: Use typography to create a series cover design for Faber Film’s range of books that reflects Faber and Faber’s long history of typographic excellence.
To begin I have decided to research the area of typography and book cover design by sourcing various books on these subjects. These books are detailed below.
Typography:
Jury, David - Title: About face: reviving the rules of typography
McLean, Ruari - Title: The Thames and Hudson manual of typography
Chappell, Warren - Title: A short history of the printed word / Warren Chappell and Robert Bringhurst.
Bringhurst, Robert - Title: The elements of typographic style / Robert Bringhurst. Tschichold, Jan - Title: The new typography : a handbook for modern designers
Author Atkinson, D. W - Title: Grid systems in graphic design
Samara, Timothy - Title: Design evolution : theory into practice : a handbook of basic design principles applied in contemporary design
Elam, Kimberly - Title: Grid systems: principles of organizing type
Lidwell, William - Title: Universal principles of design: [100 ways to enhance usability, influence perception, increase appeal, make better design decisions, and teach through design]
Samara, Timothy - Title: Making and breaking the grid: a graphic design layout workshop (2005) Book
Jury, David - Title: What is typography? (2006)
McLean, Ruari - Title: The Thames and Hudson manual of typography
Cover Design
Drew, Ned - Title By its cover : modern American book cover design
Powers, Alan - Title: Front cover : great book jackets and cover design
Title: Fully booked : cover art & design for books.
I have also been looking at Faber Finds. This is the current Print on Demand service which faber and faber currently run for various back catalogue books. These books are very uninspiring!!! Below show two example of the POD template which each book is designed to. I am looking at these because the brief also states that the cover design will be for the Faber Film series of books which will also be published using this technology.
Thursday, 22 January 2009
Interactive: Technical Issues
An issue that I have run into while creating this website, is image quality versus file size. This has resulted in a fine balancing act as this is going to be a portfolio website showcasing images. Images need to be high in quality while also having an efficient file size so they can be downloaded quickly without a long wait for the user. If the file size is not adhered to then the result will be a website “…that will kill your patience, occasionally kill your web browser, kill the desire to stay with the site, kill the desire to come back to it and basically kill the sites chances of achieving anything at all”.
Another area of concern is how the content for the site would be loaded as it will be in a constant state of updating with new work. Having to regularly go into the flash file to update would be very time consuming. The solution to this is to have all the content stored externally. This would then be loaded dynamically when needed by the user saving valuable download time.
Another area of concern is how the content for the site would be loaded as it will be in a constant state of updating with new work. Having to regularly go into the flash file to update would be very time consuming. The solution to this is to have all the content stored externally. This would then be loaded dynamically when needed by the user saving valuable download time.
Monday, 19 January 2009
Interactive: The Concept
Marshall McLuhan coined the phrase “hot” and “cold” mediums. A hot medium had little or no interactivity, with the end user having nothing to figure out. Where as a cold medium has lots of interactivity. For this project I have decided to design an experimental portfolio website which will encompass various posters which I have created over the last year. The experimentation is housed in the navigation system of the interface. The level of experimentation which the navigation system will encompass must be intelligent in its design and not alienate users, a “warm” medium should be sufficient. “Interactivity is a way of providing a path through information that the user can internalise and navigate. If you make this navigation process too difficult, or the overall interactive model too complicated for the user to internalise, your interactive architecture falls flat”.
The intuitiveness of this concept will be paramount to its success, because if the interface is too difficult to comprehend then the end user will be leaving the site pretty quickly. “In fact, several psychological factors hang in a delicate balance: challenge, frustration, and curiosity” (Donald, Unknown, pg 208). An unbalance of any kind and the initial enjoyment felt from rotating the cube quickly gives way to frustration. A good balance and “Users will be able to learn to use it quickly and be able to use it faster than a system without good interaction design.”
The navigation is non-linear, as a “user who takes advantage of these links is rewarded by a deeper experience than would have been possible by following a simple linear thread.” It is also playful in its design, enticing the user to rotate. “The act of participatory in an interactive experience arouses some sort of feeling within us. It either involves us emotionally (as in religious rituals) or is enjoyable as a form of play (as in games).” It is the source of the user’s interactive experience, it “… assumes a meandering kind of activity by the end user and seeks to accommodate through the richness of discovery”.
The way the cube will rotate is designed to be completely intuitive. I have developed it in a way to mimic how you would rotate in reality, a cube with your hand. This mimicking of reality leads the user to work out how the navigation system works within a very short space of time. “The human mind is exquisitely tailored to make sense of the world. Give it the slightest clue and off it goes, providing explanation, rationalisation, understanding.”
This mimicking of reality along with the appropriate feedback will result in the user being quickly and appropriately informed about what is going on. They are also able to understand what is happening in their interaction within this system.
“The usability of an interface is a measure of the effectiveness, efficiency and satisfaction with which the specified users can achieve specified goals in a particular environment with that interface.”
In creating the graphical look for the interface I used a concept of limitation. Limitation in that I decided to use only three colours. With the use of only three colours one would be forced to be more inventive in its creation. It was produced to be as much a part of the portfolio as each individual poster, therefore the interface became
“An expression of a sites attitude”,a “...fusion of interface and content. This will influence the way which the user will understand and process this information.
The golden section was also an essential theory by which the graphical design was created.
The intuitiveness of this concept will be paramount to its success, because if the interface is too difficult to comprehend then the end user will be leaving the site pretty quickly. “In fact, several psychological factors hang in a delicate balance: challenge, frustration, and curiosity” (Donald, Unknown, pg 208). An unbalance of any kind and the initial enjoyment felt from rotating the cube quickly gives way to frustration. A good balance and “Users will be able to learn to use it quickly and be able to use it faster than a system without good interaction design.”
The navigation is non-linear, as a “user who takes advantage of these links is rewarded by a deeper experience than would have been possible by following a simple linear thread.” It is also playful in its design, enticing the user to rotate. “The act of participatory in an interactive experience arouses some sort of feeling within us. It either involves us emotionally (as in religious rituals) or is enjoyable as a form of play (as in games).” It is the source of the user’s interactive experience, it “… assumes a meandering kind of activity by the end user and seeks to accommodate through the richness of discovery”.
The way the cube will rotate is designed to be completely intuitive. I have developed it in a way to mimic how you would rotate in reality, a cube with your hand. This mimicking of reality leads the user to work out how the navigation system works within a very short space of time. “The human mind is exquisitely tailored to make sense of the world. Give it the slightest clue and off it goes, providing explanation, rationalisation, understanding.”
This mimicking of reality along with the appropriate feedback will result in the user being quickly and appropriately informed about what is going on. They are also able to understand what is happening in their interaction within this system.
“The usability of an interface is a measure of the effectiveness, efficiency and satisfaction with which the specified users can achieve specified goals in a particular environment with that interface.”
In creating the graphical look for the interface I used a concept of limitation. Limitation in that I decided to use only three colours. With the use of only three colours one would be forced to be more inventive in its creation. It was produced to be as much a part of the portfolio as each individual poster, therefore the interface became
“An expression of a sites attitude”,a “...fusion of interface and content. This will influence the way which the user will understand and process this information.
The golden section was also an essential theory by which the graphical design was created.
Subscribe to:
Posts (Atom)