After Finn designed our posters, we went to screen print them to try out using split fountain technique. The first designs we did were ones where the type itself was coloured in, on either white paper or coloured paper. They looked really nice but the small information type wasn’t really visible especially when the yellow ink covered it. Posters seen here. So I decided to redo them, testing out filling the background with ink and leaving the type white and that came out better because you could read it better and see the imperfections of the tape helvetica better. Plus, you know colour. Yay! Seen below are three of the outcomes from my printing, two having some quirks and imperfections because of the printing process, and the last one being just perfect. Together they look really nice!
I don’t very much enjoy making posters. I think it’s because I feel like the one I do has to be AMAZING and represent the subject perfectly and in a fun and creative way and still be able to extract information from it. Way too much pressure in just one artwork ha.
Over two sessions I’ve been experimenting with making quick analogue posters by drawing with different tools and then overlaying that with cut out text and photocopying it to make it all come together as a flat piece. The drawing/markmaking I really enjoyed as it was all about creating marks quick and not having the time to worry about what line you were going to draw next. The motif I chose was a painting of Andy Warhol by Basquiat that I saw at the exhibition at the Barbican last week so lots of faces on my outcomes.
Experiments with letterpress to generate some ideas that reflect my movement. Started out with the word zero and then thought about the countdown to zero as well so I incorporated numerals too. The most ideal typeface to use for this had been Futura but as that wasn’t available, the closest I could get was Gill Sans which because of the super round O works pretty well (although the fancy R annoys me somewhat).
Sketchbook, by Lisa
Then I started thinking about using the letters as shapes instead and made patterns with o and i which turned out pretty interesting. I really like the zero123 but also the red lines below and the pattern to the left of it. The countdown reflects the movement very well and the launching of a new way to look at and create art so using numbers in this way is something I could develop and refine to make it work better. Using Futura might make all the difference.
I have been looking more into the zero movement and especially the works of Yves Klein. Klein was maybe the most experimental out of the people associated with the movement and the real motor, working a lot with performance, sculptures and experimental painting. He painted using his hands, people’s bodies, fire and was obsessed with blue as he saw it as the perfect colour.
Works by Yves Klein
I looked into Heinz Mack’s work more as well. He does installations, sculptural work, textures.. but the thing I am interested in the most is his work with lines and his passion for making vibration. Pretty abstract and strange sounding maybe, but looking at his work it makes more sense:
As I have now started designing my book I know it’s gonna contain a lot of white space and digital stuff and the overall look will be very minimal as that is how I design and I want the book to reflect me. I bought a book a couple of weeks ago called “MIN” which is a collection of projects by different designers and companies done in a minimal style and I found it really inspiring. I like how design can be really strong using as few elements as possible and thinking about that I have decided to not have something elaborate on my cover. I could never decide on one final design and they don’t reflect me as I would like. So I am making my cover a solid red with the title in white and that red will also flow through the rest of the book, functioning as chapter dividers. As the projects throughout the book will be so different in style and colour, I want the red to be a consistent calming factor that binds it all together.
However, I don’t want my book to be too digital as that doesn’t reflect me either and because the overall look will be so strict in a way I thought a good way to loosen it up a bit could be to incorporate some handmade type. I got really inspired by the book “Dear Data” for this as it is so playful in its expression and really have that handmade vibe without making it look sloppy. Thinking about this page (below) I made some tests of my own.
A spread from the book Dear Data by Stefanie Posavec and Georgio Lupi
Last workshop was about type, more precisely looking at how letters are constructed and how we can manipulate them. Through drawing, painting, cutting and photocopying I spent a day immersed in creating different variations of t, y, ! and ?. Y quickly became my favorite to work with, whereas the exclamation mark didn’t inspire me at all. An intensely fun day that gave me lots of ideas on how you can work more with letters to create interesting and beautiful results. Below are some of my outcomes.
First- scanned letters (that I moved around whilst scanning) and then continued working on in Photoshop to create these images:
Type experiments by Lisa
Second- folded and cut out letters assembled in different ways, photographed and edited in Photoshop.
Type experiments by Lisa
Sometimes we rely on randomness- being creative means that mistakes can be a good thing. And sometimes just playing with the components you have in front of you can be the best way to go because you don’t know what you’re after until you’ve done it.
A couple of days ago I explored some different ways of generating images from photographs, creating abstract and interesting results. Deriving meaning from photographs that didn’t mean just one thing, I made drawings and paintings from the emotions the image evoked or sorting it by the most to least dominant colour.