poster : final

poster : beginning

 

object to mark

 

 

Gael Towey

As creative director of Martha Stewart Living magazine for more than 20 years, Gael Towey has given us many frame-worthy images. 

While looking through MSL it dawned on me that readers don't simply look through the publication and then discard it, they collect the magazine, holding on to them for years. Because of the readerships love for MSL, I chose to format my research as postcards. Each image can be torn away from the set to be framed or pinned to an inspiration wall, or used as a note card.

pattern

modularity font

 

layers

hierarchy

Thoughts on Ina Saltz' Type and Hierarchy video

• Color / Contrast / Scale are the main elements to consider when using type.

• In typography, color refers to, "the tonal weight or overall level of greyness created on a page of text, using black text on a white background." For ease of reading, tonal consistency is what you want.

• One way to create contrast is by choosing a typeface with weight options. Shift between lighter and bolder type weights to add depth of meaning.

• Ina says that in typography everything exists in relation to everything else. Change one element, it effects the others.
• Scale is about achieving balance.
• Mixing of scale and stroke can create visual interest.

framing

border play

Gestalt principles

positive : negative

 

grouping modes 

 

rhythm + balance

color studies

Thoughts on Jim Krause color for design and art video:

Good grief there was a lot of info in this video... thoughts that stand out for me

• Get yourself a color wheel and study it.
• The three primary colors, when mixed, make up all other colors.
• Color contains three elements: hue (color), saturation (the brightness or intensity of color), and value (how light or dark a color appears).
• Value establishes visual clarity and according to Jim is the most important of the three elements.
• Calibrate your computer monitor(s).

He also gave some AI tips: play with color guide and use color picker

physical texture

 

Thoughts on Mirian Bantjes

Wow, what an interesting woman!

- She separated herself from the way most designers work. Which she calls a strategic model: meet with the client and figure out their needs. Now, it's the designers that hire Mirian, she no longer tries to figure out the client; instead, she makes what she wants.

- She works against what is expected.

- Works with purposeful randomness.

- Design needs artists. Artist don't need to loose themselves by doing commercial work, they can make a living being creative. The personal work will still be there.

typographic texture

scale . depth . motion

Thoughts on Tittle Case: Jessica Hische and Eric Mortensen

- Teach yourself to see the small details.
- Create by hand; refine on the computer.
- Problems give you a chance to find a new way to do something you've already done a thousand times before.
- Constantly push and make new work -just for yourself. You never know where it may lead.
- Don't just look at the title of a career; consider the work that makes up that career. Are you obsessed with it?  
- Sketch, sketch, sketch. Eric said a by-product of working at larger design studio's is that he is programmed to make lots of sketches while working out a design.
- Personally, I didn't know the difference between lettering and typography. Jessica's simple explanation (which I have condensed even more) was helpful... letterer's can expand on an existing typeface and make it work for precisely the need you have.

scale

Thoughts on Sean Adams

- Just because the computer makes things happen quickly, doesn't mean it's best.
- Designers today need to, or simply have more knowledge of a wider variety of  platforms: print, web, interactive, environmental to name a few.
- Ideas : take them from wherever you can. Jot down ALL ideas. Sometimes you should do the opposite of what you think is best, or go with the worst idea -to shake things up if you are stuck.
- Design keeps capitalism moving along!
- Network, network, network! Work with the connections you have. Let teachers and professionals know what you want, if something comes up, you might be contacted.
- Clients have good ideas but they can't always articulate it well. Designers must learn to listen well.
- Idea's can get lost in technology... is there a concept or is it just pretty?
- Portfolio's should have a simple and clean presentation.
- History of design is important.

rhythm + balance

Thoughts on Margo Chase

One take away from the Margo Chase videos for me, was to not get discouraged if you are pigeon-holed in a style/type of work. You can expand your client base and the type of work you do, just keep creating new work and it will resonate with someone.
I agreed with Margo’s comments on having books around. The computer is great, but books old and new are amazingly inspirational.
Margo said that in her studio, open communication between co-workers is vital, thus an open floor plan to facilitate creativity.
Oh and keep a sketch book!

points lines planes