Monday, 25 April 2016

Heroes & Heroines - Evaluation

Part A
I found this assignment was one of the most difficult we have done so far.  For me, academic writing is a struggle already but to research and write about almost 40 different designers or illustrators was a huge effort. If I had started the brief earlier than I did it probably wouldn’t have been so difficult. Even though it was hard I think the aim of the assignment was really beneficial, as we can learn and be inspired by other designers.

Part B
1.1 Research was the key factor in this assignment, by researching the biography, style and work of the designers and illustrators, I had insight into current trends and techniques in the creative industry today.

1.2 I presented each post in a very systematic way, first giving a very brief biographical overview then going on to comment on the work and styles of the individuals, then briefly stating my opinion of their designs.

1.3 I think the main thing I learned from looking at all these creative people is that it is good to widen both experience and skills.

Monday, 11 April 2016

Alan Fletcher - Part 2

Even though Alan Fletcher’s style is more post-modernist than modernist, I still find it challenging and very inspiring. His work is not quite as wild and bizarre as designers like Neville Brody or David Carson, and even though it is often colourful, his use of white backgrounds, as a contrast, tones it down.
Alan Fletcher’s use of many different typefaces and, more particularly, his own handwriting, shows his confidence in the knowledge and use of type, which is always an amazing skill to have as a graphic designer. I feel I should expand my knowledge of typography and Fletcher’s work really inspires me to do this.
Fletcher’s more artistic side is also really encourages me to work with mediums other than digital, such as paint, markers etc. Researching and looking at current designers really helps to put my own work into perspective and motivates me to work harder and get better.

Image of the letter Q



References:

Jauncey, Jamie. Alan Fletcher.
Available from
[Electronically accessed 8 April, 2016]

Polaroid Corporation. (1989), Poster: Rorsach test.
Available from
[Electronically accessed 8 April, 2016]


Jonathan Barnbrook - Part 2

Jonathan Barnbrook’s typefaces are unique, yet all of what he does is derived from past cultures and languages. I like the fact that they are distinctive, not just another brush font or sans serif, but have depth and background to them. Take his typeface, Mason, for example. You can see at once it has been derived from the 1800s and Greek architecture. For me Barnbrook’s typefaces look very Celtic or gothic, and I really admire them, but finding a context in which to use them is the tough part.
Another aspect of Barnbrook’s work I appreciate is his personal involvement in society. He uses his design skills to display and fight for what he believes is right, to combat the violation and damage of morality all across the world. I find this really encouraging. I think we should use our talents and craft in the right way; against corruption and dishonesty.









   


References:

Diseña Magazine.
Available from 
http://www.revistadisena.com/jonathan-barnbrook-disenador-britanico-2/
[Electronically accessed 7 April, 2016]

Émigré. Mason OpenType.
Available from 
http://www.emigre.com/NewsletterArchive.php?id=11
[Electronically accessed 7 April, 2016]

Barnbrook Blog. Just My Type.
Available from 
http://virusfonts.com/news/2010/10/just-my-type/

[Electronically accessed 7 April, 2016]

John Lawrence - Part 2

The British illustrator, John Lawrence’s work is still as inspirational today as it was when the technique of wood engraving to create illustrations was first made popular in the 18th century.
It is amazing how his engravings can be so detailed, and yet not too crowded. Even with the black and white designs, Lawrence still achieves his purpose by drawing your eyes to the main or central feature of the illustration, despite the elaborate, inter-woven black lines that form the picture. I particularly like his black and white images as I think any other colour takes away from the printed effect.
In comparing his style with the engraving done in the seventeen hundreds, Lawrence’s appear quite crude, lacking the delicate lines used to create depth and shadow. But I think this is one reason why he is so popular even in these days. He has created his own, contemporary style. His work has really inspired me to widen my skills and try more handcrafted types of design.





References:


Illustration Cupboard. John Lawrence.
Available from
[Electronically accessed 8 April, 2016]

MetaDesign - Part 2

Whilst initially researching MetaDesign their design really stood out as the type of designing I would love to do. They do not have a really rigorous style that they have to stick to, whatever brief or client they are working with, but there are characteristics you can observe running through their designs. I think simplicity and sophistication are key in all their work. It is clear that they generally work on the basis of ‘less is more’ and each of their products has an elegance that designs crammed full of many different colours and typefaces can never have. I believe the general approach, and therefore the outcome, is more modernist than post-modernist.
There are quite a few things I have learned from their work that I can apply to my own work. MetaDesign’s website displays some of the work they have done. What I found interesting was that for each project they showed them out in context and in many different formats, with photographs. I can use this technique in my own portfolio. By showing my designs in and on whatever thing they would be seen on, like mock-ups of posters, brochures, t-shirts, packaging and digitally. Another fact about Meta Design’s projects I can learn from is that they are prepared to discard anything from their work that isn’t necessary for a functional and aesthetic design, which shows they have confidence in themselves and their work, which I find really inspiring and motivational.

        



  

References:

MetaDesign. Embark.
Available from 
http://sanfrancisco.metadesign.com/case-studies/embark/
[Electronically accessed 29 March, 2016]

Alan Fletcher


British designer, Alan Fletcher, (1931-2006) born to British parents in Nairobi, Kenya, moved to England at the age of five. After attending four art schools, he then travelled to America. After he returned to London he founded a design firm called 'Fletcher/Forbes/Gill' with Colin Forbes and Bob Gill in 1962. When two new partners joined, in 1972 the partnership was re-named Pentagram.
Fletcher approached his briefs with a 'Not how - Why?' attitude, he looked at why he was designing what he was, not how he would answer the brief. I think this is one of the reasons his designs have so much depth and meaning behind them.
From my research, it appears he was very passionate about his work even from a young age and that he would go the extra mile to obtain experience, for example, while in the United States he phoned Saul Bass from a bus station to ask him to look at his portfolio and ended up being his assistant for a few weeks.
One thing I especially like about his work is the colourful, playful, relaxed style, without losing any of it's meaningfulness or function. His work was greatly influenced by the glitz and glamour of American culture compared to grey gloom of post-war London. An interesting point of his style is that he sometimes uses his own handwriting on a design, it definitely makes his designs very personal.

References:


Famous Graphic Designers. Alan Fletcher.
Available From
[Electronically accessed 18 March 2016]

King, Emily. (2006), Alan Fletcher: Graphic designer of rigour and founder partner of Pentagram.
Available From
[Electronically accessed 18 March 2016]

King, Emily. (2013), Biography.
Available From
[Electronically accessed 18 March 2016]

Poynor, Rick. (1990), Reputations: Alan Fletcher.
Available From
[Electronically accessed 18 March 2016]

Thompson, Philip. (2006), Alan Fletcher.
Available From
[Electronically accessed 18 March 2016]

Wikipedia. (2016), Alan Fletcher (graphic designer).
Available From
[Electronically accessed 18 March 2016]

Dunkerton, Martin. (2013), Biography.
Available From
[Electronically accessed 18 March 2016]

Fletcher’s Work. (2013), The Blogazine.
Available From

[Electronically accessed 18 March 2016]

Scott McCloud

Fifty-five year-old Scott McCloud is an American cartoonist and comic theorist from Massachusetts. He first decided he would like to be a cartoonist during his time at high school when a friend, Kurt Busiek, who is also a cartoonist, sparked his interest in comics.
He is actually best known for his non-fiction books about comics. Another huge achievement of McCloud's career was his 'invention', the '24 hour comic'. It was a challenge to create a 24 page comic in 24 hours on the run, the aim was to encourage creative productivity without restrictive contemplation or over-thinking that time allows.
Personally, I really like his illustrative style, as it is simple yet detailed at the same time. I also appreciate the lack of colour, I think it can draw the viewer's eyes to the form of the drawings, rather than bright colours, making them more expressive. 

   The Sculptor by Scott McCloud

References:


Burgoyne, Patrick. (2008), Yugo Nakamura: The Craftsman.
Available from
[Electronically accessed 28 March, 2016]

David. (2010), Rediscovering Yugop.
Available from
[Electronically accessed 28 March, 2016]

Darrough, Shannon. (2010), A Few Words with Legendary Web Designer Yugo Nakamura.
Available from
[Electronically accessed 28 March, 2016]

Yugop. Info.
Available from
[Electronically accessed 28 March, 2016]