My printed book has arrived and I really like it. It is bright and happy but still has a seriousness about it which is exactly what I was going for. It is so nice to see something physically that you have been working on for a really long time. I have learned a couple of things doing this project but the most important one is: it takes time to design a book. And there is so much planning going in to it. I have simultaneously enjoyed and dreaded the making of this book as it has been so extensive. There were so many images of outcomes I had to redo or clean up before it felt presentable for the book, so I hope I will learn for the future to keep better care of my work and take better images from the start haha.
The layout for my book is kind of Alan Fletcher inspired when he said that making a book is quite similar to making a storyboard for a movie, when it comes to the flow and pacing of everything from page to page. I have some consistent layout solutions throughout, like the introduction to each chapter looks the same and the explanation for each project always starts the same way with a small block of text in the bottom right corner and a image or images covering the left side.
Our final deliverables managed to look very cohesive and like the Neat brand- from the presentation slides, to the campaign page and its graphics along with the video and tone of voice in the presentation text on the website. I think we kept the Neat style but re- vamped it for the campaign, sticking to fewer colours and making our photos and mockups cleaner looking but still keeping the playful element. Our final preview page can be seen here along with the video.
I am happy with the end result and how we managed to put this together in such a short time, with other projects still ongoing.
Among all the little pieces that has to go in to making a Kickstarter campaign, the video has without a doubt taken the longest to complete. Dividing our work so that some people focused on setting up the page, some focused on getting some explanatory graphics in there etc- we all had at some point lend a hand to the making of the video.
Starting out with the stop motion part of it, what we thought was going to be quick and painful dragged out to three whole days of work with first taking the images, realising they were unusable as the lighting changed from picture to picture, re doing the process with a different setup (which took several tests and creativity to figure out) to then fine tuning it in after effects in terms of colour, speed of the sequence and pauses.
Stop motion images
The second part
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.
This project focuses on design history and movements. The deliverables will be a folded A2-A5 16 pager describing my exploration of chosen movement, and a motion graphic outcome. Starting off, I looked into 3 different movements I find interesting and chose De Stijl, Zero and The Washington Colour School.
De Stijl: Around 1917-1931 as a reaction to WWI, a group of Dutch artists set out to remake the world through a utopian vision and harmony and order. Exploring the ideal fusion of form and function, they wanted to eliminate all representational components, reducing painting to its elements: straight lines, plane surfaces, rectangles, and the primary colours red, yellow, blue, black and white.
Now that I finally feel like I like my app idea to the point where I’m actually inspired, working on my screens went really quick. After one intense and productive day I now have an app concept and a prototype to show. Thinking about how to make my application interactive, I decided that I want the user to be able to do what I have done as well- create poems about their experience of London and make them into posters that you then can print. Making your poems into visuals. It works by you choosing the letter that you want for your poster, then you pick the colour and lastly you write your poem on it, add to gallery and print!
In terms of the design, I used the same 4 colours I had in my first prototype (blue, yellow, red, pink) for navigation as I think these also work for this idea. The font for the text is Avenir Next Medium and the letters I have manipulated are set in Big Caslon. I found out that I like the outcome of the manipulated type better when it’s set in serifs but as I am overall a very sans serif person and I needed a type that wasn’t so ornate for the rest of the text in the app to fit with the kind of strict and geometric design, I went with Avenir Next as it a bit rounded so it matches the curvyness I have going on with the posters.
After getting feedback on the route to take with my leather project, I have decided to follow the path of bathtubs as it feels like the most relatable one and can be quite interesting visually because of the absurdity of it. The ideas I have for them so far are a bit scattered:
- Displaying taking one bath a day for 40 years through 14 600 bathtubs (365 days x 40 years). These can be shown on screens running alongside a wall.
- Or on the floor running down a street.
- Or displayed on a sky screen you look up at.
- Or one might divide the number of bathtubs with the number of tube stations in London (270) which equals 54 bathtubs that you place at each station. The information to go with it could be something along the lines of: These bathtubs are 54 out of 14 600 placed at 270 stations in London representing the amount of water it takes to produce a pair of leather shoes.
- Or making it into an art installation similar to the one in the gallery below with clouds on screens. By placing big screens like this in an open place filling them with images of 14 600 bathtubs and having maybe one screen explaining the leather connection.
Stepping away from the animal bit completely, I am going to try to go in the direction of showing people other aspects of the leather industry besides the animal cruelty one that they might not have considered. Leather is not only bad for the animals farmed in making it but also for the people working in tanneries and the impact the production has on the environment. Chromium pollution is the fifth most toxic pollution problem in the world and destroys the rivers and lands where it is dumped as a by-product of the tanning process and workers in the industry can be as young as five years old wearing no protection gear and dying too young from being poisoned for years from working with these chemicals.