Anthony Burrill More Brilliance

More fantastic to the point design here from Burrill.  It just occured to me that I should say this, but, I did not know about Burrill and his work until I was well underway with my book fair project, in fact I think it was once I had finished.  I don't know, maybe one day people might recognise my typographic posters for the same kind of reason.  I do hope so. A show piece would be awesome.

Ok this work.  hmm, to the point, clear, bold, aaaand I think thats about it.  His message driven work doesn't always insist on being seen, but simply offers some advice.  I should e-mail him ask him why he feels he does these types of design.

Flatland : Chapbook Cover Development

Cancún Debate : Tutorial With Jo

Feedback

I showed Jo a few projects that I have been working on, mainly the Cancun ranage that I had developed over a few days in response to a live brief.  He liked the poster a lot, but pointed out some small typographic errors or ammendments that could be made to make it better.

He suggested that I should move this brief on as a substantial brief, considering a further range and more experimentation with format. I agreed becuase I liked what I had produced but felt as thought it was unfinished.  Therefore I will re-write the brief to make it more substantial and continue working on  it once the yearbook is as good as done.

Ammendments and Development

• Line spacing
• Concept further development
• Wider range
• Actualisaton of production

Book Fair : Oh yes! The Fair

I havn't blogged at all over the last week really, due to the piece of information I had forgotten about last Monday.

I was reminded of course that the University book fiar was the following Friday, for which I had stated that I would be designing a series of posters as well as a book.  I had not so much as thought about what I was going to be be producing so in some sense, the race was on.

I knew that I wanted to produce work as a reflection of my interestes and the contextual side of my design.  This usually leans towards theoretical stances as well as general chit-chat between designers.  I descided I would produce a series of quotes, consisting both of my thoughts and those of the designers I most revered.  Thes would aim to clarify some ideas and approaches that young and expereinced designers may find useful or make a connection with.

I begun searching through my dissertation notes for quotes that were informative as well as interesting, and from these started designed some posters.  My approach to design has become a much more objective and critial analysis of clarity in communication, through type and print.  The Traditional style that I was designing the posters was slightly illogical, but I felt that people had seen enough ordered sans serif helvitica typography of late.  Therefore I pleased myself by designing in a style that I consider to be my guilty pleasure.

Traditional typography, with its mixture of beautiful typefaces and bold yet eccentric layout has little relevance to comtemporary culture as it immediatly connects back to the 1900s.  This I did not care about though, I know that people love design in the Traditional style and as these prints were to be sold to the public I though 'why the hell not.'

Cancún Debate : Proposed Final Range

I not keen on uploading every single design I do, I think it is fairly pointless to see how I have kerned a bit of body copy by -5 or whatever. If it is working, it is working and if it not I will change it. To me things like kerning body copy are a 05 typography module exercise and that now I can quickly lay down type with appropriate proportions.
Instead I have focused on how the dynamism of the layout effects the hierarchy and accessibility of information.

The grid has changed now. Before I was using a 5 column grid. I am interested in the way the grid affects communication, as I am not yet convinced that the grid necessarily leads to more effective communication. But after layout this publication in a tidy 4 column grid I have decided the poster should follow suit. I used to not like the 4 column grid, but now it seems to be almost perfect for any job that does not require a large variety of information. I will stick with this grid, maybe changing it to and 8 column if it

Break out Lucille : Typeface & Packaging Slution Mock

By printing the grotesque alphabet by hand I had created a unique typeface.  There is not much repetition in the logo so eah letter remains genuine in appearance.  It will be useful for a further range when headers, titles and slogans are incorporated.  The brief is finished, but the potential to push it further is certainly there.  When I have some free time in a few weeks I may well create a lyric book as well as some promotional posters.

The clear jewel case allowed for a relativly cheap packaging solution.  It also enabled play for another level of visual meaning in relation to the idea of 'breaking out.'  I chose not to confuse the layout of the logo beyond justifying it to the left, as this is how I had always intended the logo to appear, rather than floating or being constrained to a grid.  The freedom of the overall design refelcts the independent nature of the band as well as as the more obvious suggestion of breaking out and therefore being free.

Flatland ISTD : Last Module

Last module Vickie and I working on the ISTD Flatland brief.  Today we are going to be re-adressing it in order to prepare and print for submission on Friday.

There are several things to be looking at.  Firstly the stock of the chapbook itself, which was previously too thick and did not allow for it to be correctly folded.  The 200gsm originally stock used took the ink well on both sides, but was just too thick for the job. Today we need to consider a lighter weight paper, around 90 - 120gsm that is crisp enough to fold and hold its structure but also not allow too much of a ghost through the pages.

Also we will be evaluating the design side of the chapbook to make sure the typography is ironed out and that the layout compensates for a change of stock.