Finally, for this project, I created brand guidelines for “Roots”. This talks about the fonts, colours, shapes and how they fit together on to the different touch points. I think that this is a simple way to display the designs to a client and so that anything that is made to promote the brand fits in with each other creating an identity that people can recognise.
To create the guidelines I tried to design it in some sort of structure by using columns. I found that this was difficult with the slightly odd shape of the van mock up.
When I was looking at other designs of identities for gardening companies they were mostly focused on light greens for obvious reasons. I wanted to use a green as the client had provided this on his mood board but he had also provided more of an autumn style to it. This was the motivation for this. I think the orange, green and brown I have used work well together and create a modern feel that the client wished for.
I chose to keep to one font in the designs to keep it simple and clear. Futura works for both headings and body text making it simple to keep consistency. It is an easy to read font and has a contemporary feel to it.
Overall the touch points have been over worked and have become slightly tacky. This is most likely due to the pattern and it does not allow for any ease on the eye and it is also substandard as the lines do not align up well creating a poor quality design.
One of the touch points the client wished to have was a van that his drivers would use and in turn of this would advertise to the public and potential users. I initially thought that having a van looking like it is made completely of wood would make the van stand out on the streets and would catch passers by’s eye (like the Red Bull car). I then worked with this idea and came up with three potential ideas. But I don’t think that it works, yes it looks alright on screen but practically it could only be done with a sticker and they tend to look cheap and tacky when large. So in the final design, I kept it simpler with just the logo and colour on the front.
When the client asked for these I was not too sure why and I think that this shows in the design. I didn’t know what would be needed but tried with changing the angle of the logo and adding text. But I later scrapped this idea as it was obvious that it was not a top priority for the client. But if I was to redo it I’d simply it again and have more of an idea of what it was exactly.
Bussiness Stationary and Leaflet
I had the wood thing ingrained into my head as I kept up with in throughout the other touchpoints and I really don’t think it works at all and looks over the top and distracts from the information. It is the same with the angled parts of colour.
Orwell’s 1984 book is set in a dystopian 1984 (what was to originally to be named an earlier year but publishers thought it was too close to publication date to be realistic). The society developed is one of an all powerful and all knowing government that controls and monitors every action and thoughts of its citizens. (This is the origin of famous phrases like “big brother is watching you.” and the idea of Room 101) The novel follows the character and protagonist Winston Smith. He works in the Ministry of Truth which edits history. He starts to question the society he lives in then gets tricked into revealing his thoughts. At the essence of the book, it’s about control and being watched.
This cover has an eye that could be the eye of ‘Big Brother’. It is in the center slightly towards the top, it is the vocal point of the design. It seems like the eye is looking out at the viewer and could also be protecting the content like it does not want you to read the novel at all. The title and author’s name is contained within a panel that is the last thing I personally notice last, it is like it is only a formality and added on like it was just a standard design of the time this edition was published (which it was).
My personal favourite cover for the book is one of the latest editions. It is a simple yet effective concept as It takes the classic penguin paperback design with the author and title blacked out, this links in well with the story of the deletion of history and the hiding of information from the general population. But what is quite effective in the physical book is that the text is embossed onto the cover so if the light hits it in a certain way you can sort of make out the text and you can also feel that the text is actually there.
I really enjoyed this project and found that I have developed my information gathering techniques immensely. I found that I was put out of my comfort zone quite a bit in many ways. One of these being I’m used to having a brief to work from this giving me a set of preselection of constraints and having an aim of what the final outcome is going to be. This project basically had free range to develop the information in any way that we wanted to (yes in graphics we get to interpret the brief in the way we want but still with the end in sight) I did enjoy this but coming into the last week and a bit I found that I was finding it difficult to do any work because I was wanting to add text and create some sort of communicative piece of information but I wasn’t to sure what I wanted to say and I didn’t want to fall back into what I normally do (what was easy).
Another way I was put out of my comfort zone was braising the elements in Pembrokeshire while working on the ‘100 drawings’ exercise. The rain on the second day lead me to doing the drawing hurried and quickly which makes some of them unrecognisable. The hole excise got me excited about drawing again as I was trying to get the basic out lines and shapes of the landscape. This lead to a more interesting way of communicating the landscape in a more illustrative way. I found that I felt more positive about the work I was doing in this project general after looking back at the drawings I did in Pembrokeshire and treating this as a hand drawn illustration project as I was getting overwhelmed with the possibilities as I felt stuck in print and there was only so much I could do with it in the short space of the time.
When I was looking at my drawings (from both the Pembrokeshire and the Neath Valley/Port Talbot trips) I thought that developing thesen into print was the more natural way of going with the lines I had used. I was excited to get back into the print room. The first print technique I explored was monoprint I was working negatively which I find much more interesting as I like the mystery that the bigger blocks of black and working positively I sometimes (not always) just looks like a crap line drawing. I found that in one print I used a lot of pattern to make up the image of the print, this made it seem that there was life on the mountain even though there was little. This idea just pulled me more towards the information I collected in Pembrokeshire.
The second printing technique I explored was dry point. I am not too keen on this technique as it tends to make my wrist hurt (from when I broke it in first year) and that I don’t think the outcome for a linear illustration is worth the effort as it is achievable if drawn using different weights of fineliner. I also struggled with the scaling up of the image and the layering of the tissue paper I was trying to use negative space to create a feel of the vastness of the landscape itself but it just ended up looking half finished instead.
This project it was the first time I had picked a camera in a long time. I found that this was a positive experience, I enjoyed being able to capture light and shadow effectively. I have always liked the instant capturing of an image that pointing a dslr at a scene, this is because it gives you a risk free way of taking a lot of different of shots and angles. I love how it can capture the rich colours, shadows and textures the landscapes have to offer.
I wanted to add something to the illustrations that I created when I applied a technique I have used previously just on text. This was the layering of the same image in different colours and slightly off and overlapping to create a sort of glitchy design. I tried to limit the colours I used by sticking the the two main colour processing types: RGB (red, green and blue, together make black) which is the colours of light that can make any screen colour that you see projected or on a computer and CMYK (cyan, magenta, yellow and key- which is black) which is the colours of ink used in the printing process for commercial and home printers.
I then combined this technique and creating an image out of a surface pattern together to create a lively piece that looks like it is full of life. It has a psychedelic feel to it as it is a bit trippy and the colours combined give it more of an another dimension to it. I do think that the blue is an extremely overpowering.
Over all I think this project has had a positive effect on how I have been working in my subject. I have brought the patterns into the illustration on design on my lastest design. I also think I quite often get stuck and isolated in my discipline (sat in the graphics studio picking at the space between a t and a h) and field manages to bring me out of this and allows me to try other things I wouldn’t of otherwise have had a go at.
I wanted to add something to the drawings and photographs that where collected on the trips as when they where just left by themselves. I brought them into Adobe Photoshop and played about with splitting and layering the colours so that they where slightly off to try and create a trippy glitchy design. I wanted to try and not over complicate things by trying to stick to CMYK and RGB which are the two most commonly used colour processing types in graphic design (a bit like primary colours when using paint) they can create basically every colour that the human eye can see. Each colour has a CMYK and a RGB have codes attached to them which can be seen on screen and CMYK when printed can be compared to a chart (normally on strips) to see if that colour links up. RGB, which stands for red, green and blue (together they make black) which is the colours of light that are shown on screen. Then CMYK, which is the colours cyan, magenta, yellow and key (which is more commonly know as black) are the colours of ink used in the printing process for commercial and home printers.
Doing this experiment with the drawings really have added another depth to the pieces and created more of something that the view would look twice than just a couple of nice drawing.