I’m making my zine via the most known way, by folding an a4 piece of paper (Shown below)
The first print I accidentally glued as a concertina style booklet, which I think has resulted in a happy accident. However I’m sticking with my original booklet style, as the content is more to be seen page by page rather than all at once? – chapter like.
The content is conceptualised and juxtaposed visual ideas, supporting the context of my essay.
The finalised Zine, which I have added drawn and other hand-elements to emphasize the raw and physical elements I am interested in.
Flyer & Poster Promotion
Interior Graphics & Way-finding
ID Card & Lanyard
I spontaneously began working on the Way-finding for the exhibition, as I did not have an idea at the time.
My initial thoughts lead me to use the blueprint of the building map, using the architectural shape of each T-Space to create a graphic that represents each respective area.
Looking at how these shapes have turned out, they don’t seem to be connecting to the current brand I have developed. Sections of the shapes are extended forms taken from the logo, however they appear too distorted and irregular to form a visual link to the logo and brand.
My ideas whilst redesigning take the direct shapes from the logo, spinning them so they remove the logo notions and enlarging the text so it crops within the shape – yet so it is still legible.
I’ve designed 3 flyer variations to promote the event, emphasizing the subject of variety and individualism concerning the exhibition (Why I designed 3 variations).
The background is taken from the logo using only outlines of the shapes, extending a suggestion of the brand.
To be used during the event, I’ve designed an identification card to be worn around the event for specific stall holders and university employers etc. I wanted to continue this minimalist theme across from way-finding.
Alongside ‘Quicksand’ (which stands as the header font), I’ve now chosen another typeface as a copy font that will run across the brand. Together they will stand as a pair, I feel they best complement each other as ‘Quicksand’ is soft, rounded and evenly weighted.
‘Inconsolata’ (my copy font) is a mono-type. The letterpress-like look and even spacing creates a well-balanced design that sits well with the header font (See below).
My feedback from ‘Field’ (Design agency) was constructive and has helped me to see how I can develop my ideas.
I’ve decided to work with the 3D-shadow effect, transforming, reworking and applying it as an abstract graphic throughout the exhibition space and onto other promotional media – acting as a visual extension of the brand.
I want to create something that similar to the regular toilet sign designs, bringing in the shapes and colours from my designs to replicate the man and women basic shapes?
The finalised designs use the initials for the gender of man and woman (M & W).
I’ve chosen to create abstract imagery that is suggestive of certain concepts or subjects.
Below I’ve created an image resembling an urban, utopian-like landscape. The skyline and towering shapes shall sit as graphic vinyls on the wall around the exhibition space, creating a literal extension of the brand and something that is reflective of the exhibition subject and purpose.
Chanel SS17 – Fashion Meets Machine
The idea of a ‘catalogue’ defines how I generate, discover and collect ideas, processes, concepts and visual resources.
“Historically, zines have been self-published as pamphlets or leaflets as early as the 1700s. They were circulated independently by socially-marginalized groups to give voice to their opinions and beliefs.”
“Zines boomed again in the 1970s during the rise of punk subculture, and by the 1980s the concept of zines as an art form emerged. This was heightened by “Factsheet Five,” a publication that reviewed any zine sent to it, which created a network of “zinesters.” In the 1990s came “girl zines,” originating from the riot grrrl movement. These have carried over prominently into present day zine culture.”
A Zine would be an ideal way of promoting myself. Expressing a D-I-Y philosophy with personal and unpolished materials and design. The nature and context of zines relates to my choice of brutalist web design and its values – something I can include in my content?
After looking at my options, I think the best format would be A4 (A6 reading size), as this leaves enough space for quality and visibly-composed content. A6 is too small to manage and to include all the imagery I am planning to use.
My essay talks about my general interests which feed my visual thinking, which I apply to any creative output.
The topics I have chosen are:
These each discuss an area of interest that stimulates my thinking.
I chose ‘Scope’ as I liked the idea of playing with extended sight and stretched views.
Also I feel there is lots of potential within visual development – how and where I can create and apply an adaptive logotype (and maybe a logomark?)
As a starting point, I know I want to use a typeface that suggests contemporary, simplicity and design – Viga
The typeface has small quirks within its structure (Sharp cut edges in particular letters). These small differences personify the type and develops a sense of animation and character.
Experimenting with the type led me to create a literal representation of ‘scope’, creating an extended shadow that gives the impression it is projecting forward. (See above)
The ideas above look underdeveloped. Also the weight of the text appears too heavy.
Small adjustments to the final logo have been made, reducing the weight on the text. I think this creates a cleaner, sharper and higher quality result.
Tracking is set to 200; I believe larger tracking indicates a well considered and high quality design.
Typeface ‘Quicksand’ is used; delivering:
Final Logo Variations
The finalised designs take influence from the adaptable marque trend. Using the 3D-shadow effect I have options as to where my logo will be placed (Up or down). Also my 6-strong colour palette creates an even and balanced combination of pairings, allowing me to choose the correct marque depending on the application and surroundings. (E.g. Lighter marque for darker backgrounds and vice versa).