Colour theory:

Further Research: 

Johannes Itten was an expressionist painter and teacher that was associated with the Bauhaus school of design
He looked to look into further detail on the colour wheel that was initially created by Adolf Hölzell. Itten eventually created the color sphere, which included 12 colors.

Farbrekis colour wheel

He created a series of theories about colour contrast which we looked at in the colour theory workshops during this session i found that there are 7 types of contrast:

Contrast of Hue
Light-Dark Contrast
Cold-Warm Contrast
Complementary Contrast
Simultaneous Contrast
Contrast of Saturation

Contrast of Extension

Contrast of Hue is the change that occurs when a colour is surrounded by white or black borders. White diminishes the strength of a colour and makes it appear darker. Black increases the strength of a colour and makes it appear lighterLight-dark contrast describes the perception of difference between light colour values and dark colour valuesCold-warm contrast describes the difference between warm colours (Red, orange, yellow) and cold colours (gren, blue and purple).

Complementary contrast describes the juxtaposition of colours are those which are opposite to each other on the colour wheel.

Simultaneous contrast describes the juxtaposition of colours that at nearly complementary i.e. a colour and the colour next to its opposite on the colour wheel.

Contrast of Saturation describes the perception of difference  between dull colours and intense colours. Dull colours appear to be duller when seen with intense colors, and pure intense colours can seem move vivid when seen with a dull colour.Contrast of Extension
Different amounts of one color are needed to blance another. The contrast of extension is used to refer to contrast between the proportion of one area of color to another.

We looked into how colour is viewed in different lightings to produce a wide range in colours. Looking into different ways that light effects our perception looking into the science of how the cones and rods in our eyes interpret different colours in the relation to hue, saturation and tone. I found out that the value of any colour is a mixture of all three of these elements. We arranged the coloured objects we brought in around the tables in the room, with the primary colours merging into secondary colours.

Green > blue > violet > red > orange > yellow > to green again. What we produced in my opinion looked very impressive i photographed this from all corners of the room to display what we produced, i feel this shows the cycle very well.

Here i am showing exploration into colour theory on how colours effect each other, 

During this session we visually explored the way that our view of a colour is heavily influenced by the colours surrounding it. The same objects can appear bright, dark, or closer in hue to other colours just by their juxtaposition.

Cold - Warm Contrast: 

Complementary contrasts: 

Light and dark contrast

Light and Dark contrast.

Simultaneous contrast:  

 Task: 

We where asked to find 5 objects of each colour:

- Red

- Orange 

- Yellow 

- Green 

- Blue

- Violet

We then brought these objects in to college and placed them in specific areas of the table as shown below we then found what we thought was the purest of the colours and then made this the central point, The idea was to then place the colours in order for example below the colours where placed from the blues going to green in one direction and to lilac in the other... 

We looked into how colour is viewed in different lightings to produce a wide range in colours. Looking into different ways that light effects our perception looking into the science of how the cones and rods in our eyes interpret different colours in the relation to hue, saturation and tone. I found out that the value of any colour is a mixture of all three of these elements. We arranged the coloured objects we brought in around the tables in the room, with the primary colours merging into secondary colours.

Green > blue > violet > red > orange > yellow > to green again. What we produced in my opinion looked very impressive i photographed this from all corners of the room to display what we produced, i feel this shows the cycle very well.

 

The second part of the task we where split into groups and told to go to a specific colour group around the cycle, i went to green and then selected the purest colour and from this selected 3 objects showing: 

SHADE

HUE

TINT

Shade

Tint

Hue

The final part of this task was then to find the chromatic value for each object using a swatch book the results are shown by the diagram above.

Favourite pantone colours:

Cyan Blue: 16-4529 TPX:

Vibrant Orange - 16-1364 TPX

Blazing Yellow- 12-0643 TPX 

Tropical Green- 18-4930 TPX

Rose Violet- 17-2624 TPX

Fiery Red- 18-1664 TPX

PROVERBALLY YOURS// MESSAGE & INTERPRETATION: Final print// visualisation - Crit feedback and reaction to Crit:

100% YELLOW (CMYK)

KEY BLACK (CMYK)

Crit Feedback:

- Statement of the poster came across well

Is this being communicated in a clear and focused way? YES

What could be developed further:

- Colour scheme could have been developed a bit? 

- Posters stand out very well due to colours.

- Text on the middle poster could be removed or or re positioned.

Have the posters been kept simple and to the point? YES

Is a statement, fact, or question being posed?

Two very strong statements - inspirational

strong optimistic message this then leads on to advise the students how to go about getting it.

Like the with out a challenge statement - and arrow working across the three posters

Text in middle poster slightly confuses.

Has the restriction to two colours plus stock been met? YES

Are two colours plus stock appropriate to the solution? YES

Why are two colours plus stock appropriate/inappropriate?

- Bold Colours used in a way creating maximum effect for catching the viewers eye.

- Covers full print, works well as a matte print.

- Yellow and black gives off an industrial feel "getting the job done" 

- Applies to where theres a will theres a way.

Do the posters work as a set or series? YES

- Composition - Across three posters, fluid + colour scheme is consistent. Typography is consistent.

- The posters work brilliantly as a set the way they follow on into each other is extreemly clever they build up up well to this "point of achievement" - really nice touch.

Is it clearly evident which poster is TYPE, IMAGE or TYPE & IMAGE?

- Picky but - arrow goes across all 3 arrow typographic? - glyph?

- Block colour on first poster caused confusion to wether it was strictly all typographic.

Are the posters memorable, Immediate high impact and clear?

- Impressed on first sight - colour scheme makes you remember.   

 - The use of block colour and image creates a really effective visual and the bold large font catches the eye

- Positive message was nice to see.

- Visually + aesthetically pleasing, black and yellow are very visible, work very well together. Arrow looks good how it goes across all three posters.

Further feedback: 

- Possibly instead of type more imagery? - middle poster? 

- TYPO - Advise instead of Advice.

  

Here is my final poster print, overall i am happy with the design of the piece however I believe I could have developed this into a much more effective design, I think if anything i would simplify the design slightly as I feel there is a lot to take in.

Visualisation: I have taken this photo just to show my design in context, displaying how the colour scheme chosen is highly eye catching this draws the attention of the viewer directly making them read on... 

Single poster Visualisations:

PROVERBALLY YOURS// MESSAGE & INTERPRETATION- Design sheets and Initial ideas:

These are my initial design ideas i drew up a range of ideas that sprouted from the Proverb "Where there a will theres a way"my strongest ideas where around a feel of direction, to give the viewer a sense of help with direction, informing/ inspiring?

This is a sheet to show some development of ideas for the content of my design i then went on to develop each idea into a key feature of my design.

After looking into colour psychology I then applied what I had found, onto a traditional layout using markers. I feel that the high contrast will work well when grasping the viewers attention. and putting the required psychological message across to the viewer.    

Poster hierarchy:

Above i have stated the hierarchy of my design or how it appears in my opinion this is show below and then the reason for this:

Arrow - This represents a message to aim higher

Header - puts the message of the design across but doesn't reveal everything making the viewer read on

Sub heading - carries on the theme also inspires the viewer.

Body text - this then starts to inform the viewer

Image - this is the last thing the viewer looks at this send the message of achievement, being on top, accomplishment. 

The use of blank space around the image is to send a calming message to the viewer, this is a necessity as over all the poster as a whole there is a lot going on. I have tried to organise the hierarchy so that the end message is inspiring and calming making sure not to overpower the viewer.   

Frankenstein Typography:

Digital Outcomes:

From top descending:

Light

Regular

Bold

Ultrabold Condensed

From top descending:

Light italic

Regular italic

Bold italic

Condensed roman meat header bold

Crosshatch script bold

Sharp gothic bold

PROVERBALLY YOURS// MESSAGE & INTERPRETATION: What i am trying to say:

- What am I saying - The aim of this poster is to inspire and inform the viewer which in this case would be students. That although the step up in work load will be a shock to them initially, if they manage their time, work correctly they will achieve this. The poster is here to inform the students where they can receive help with any problems and also displays tips on how to manage student life within education.  


- Serious / Informative general style - Im going to attempt to combine a few styles within this design for example i will inform the viewer but will have a a serious theme as well I must make sure not create a design that is to serious tho, as this could easily scare my target audience off.


- Avoid using a vague messages. - messages must be strong, if not the poster design will just confuse the viewer.


- Making a statement or delivering facts - I aim to make a statement with my designs maybe introducing some factual work into them.


- Questioning people? I could attempt to question the viewer making them think when viewing the design not just looking and walking off without remembering anything about the design


- Target Audience - I feel the target audience would be students, so the poster designs would be put up in student accommodation or student unions for example.  


- Purpose - Is to inspire and inform. 

ALPHABET SOUP//TYPEFACE: Final typedesign and design sheets exploring the anatomy of type:

Final crit: The crit was very effective in allowing me to receive feed back from my peers, I was very happy with the feed back as my type design seemed to deliver the theme to the viewer. 

Some points that I need to look into are - 

• Development of the letters - s, z
• And positioning of the letter g must be brought down to be flush with the baseline. 

Name Badge Design:

I have out my typeface design together to create a piece of block text, basically just to get an idea of how the type would look in its layout on a page.

From the crit I received peer feedback that brought up a subject I had already took into consideration - The idea that to give the design the final laid back chilled feel I would have to round the ascenders and descenders off, however I felt this would take away any inspiration from The type I found from the Russian Con era, so I experimented with some outcomes, my favourite is shown below I feel I have found the happy medium that reflects the words chilled and laid-back but also has a sharp finish to it common of Russian con (strong sharp angular lines).  

This design sheet was created to explore the anatomy of type and how certain letterforms work together 

fro example how a p, q where related, after going through my development process i found this applied to many more letters.

Again carrying on with anatomy of type: To achieve the chilled laid back feel i decided to use a very cylindrical theme with my counter and bowl designs and to use italicised ascenders and de senders to try and achieve the laid-back feel.   

Again this design sheet is just looking at the anatomy of type and how some of the designs would work Italicised this also has additional letterform designs that are in reaction to crit feedback for example the bottom right of the design  show my new desig  for the letters e,y

Rounded ascenders and de senders again backing up the feel of chilled and laidback. 

Creating My Final:

I decided I would create the basic design idea on illustrator and then work my new developments into the design from here. Image below shows production of my final at half way point.

Final Trace:

ALPHABET SOUP//TYPEFACE: Development and progress crit:

Initial design ideas/ layout designs:

Development of ideas: Above shows some initial design ideas I came up with, reflecting the words chilled and laid back. I found inspiration in books from the library and also the russian constructivist and bauhaus movements. I selected key aspects from a range of these designs, then combined and developed them into the letter forms you will see below.

These images just simply show how.  have constantly evaluated my work . Highlighting features that need further work.

Response to crit:

The peer feedback I received was very helpful, pointing me in the right direction on how to communicate my message to the viewer. I took what they said and will then incorporate there input into my final design. Some features where to round off the sharp edges of the ascender to give the design even more of a chilled laid back feel, also keep the weight of stroke the same throughout to make the letters work well as a set.  

Action plan:

• Generate some ideas for the letters "z" and "v"
• Remove sharp corners at the top of ascenders
• Digitalise glyphs.