Link to my Flickr Illustration Page: https://www.flickr.com/photos/115986378@N03/sets/72157642065041504/
Design a series of three book covers
To choose ONE genre from the list below and research the subject.
- Crime & thrillers
- Science Fiction & fantasy
- Children’s classics
“Fantasy is escapist, and that is its glory. If a soldier is imprisioned by the enemy, don’t we consider it his duty to escape?. . .If we value the freedom of mind and soul, if we’re partisans of liberty, then it’s our plain duty to escape, and to take as many people with us as we can!” ― J.R.R. Tolkien “All children, except one, grow up.” ― J.M. Barrie, Peter Pan “A children’s story that can only be enjoyed by children is not a good children’s story in the slightest.” ― C.S. Lewis
Three Fantasy Books
- The Hobbit (or There and Back Again) J.R.R.Tolkien
If there is one thing I love it would be a good escapist story. The Hobbit, by J.R.R. Tolkien, published in 1937, is just that kind of story: Bilbo Baggins lives a quiet, peaceful life in his comfortable hole at Bag End. Bilbo lives in a hole because he is a hobbit—one of a race of small, plump people about half the size of humans, with furry toes and a great love of good food and drink. Bilbo is quite content at Bag End, near the bustling hobbit village of Hobbiton, but one day his comfort is shattered by the arrival of the old wizard Gandalf, who persuades Bilbo to set out on an adventure with a group of thirteen militant dwarves. The dwarves are embarking on a great quest to reclaim their treasure from the marauding dragon Smaug, and Bilbo is to act as their “burglar.” An unlikely hero who is called upon to challenge the odds, against a ferocious fire-breathing dragon. What more could you want than that?
Understanding Tolkien and the Origins of Middle-Earth
2. The Chronicles of Narnia: The Lion, The Witch and The Wardrobe, C.S. Lewis Another route into the realms of fantasy, is not knowing what you may find through a wardrobe. C.S. Lewis’ The Chronicles of Narnia: The Lion, The Witch and the Wardrobe, published in 1950, sees Lucy Pevensie take a trip through a magical wardrobe into the realm of Narnia: The Lion, the Witch, and the Wardrobe specifically focuses on gluttony. Edmund’s descent into the Witch’s service begins during his frantic consumption of the magic Turkish Delight. Since this is enchanted Turkish Delight, Edmund cannot be held accountable for his gluttony as if he were overindulging in ordinary candy. The real sin occurs when Edmund allows himself to fixate on the Turkish Delight long after he leaves the Witch. Edmund’s consumption of the Turkish Delight may also be a reference to the sin of Adam and Eve, when they ate from the Tree of Knowledge. The battle of good and evil is fought in the magical world of Narnia, in the most enchanting fantasy novels ever written.
Understanding C.S. Lewis and the Origins of Narnia
Understanding J.M. Barrie and the Origin of Peter Pan
Fantasy (and its meaning)
There were quite a few ranges of books that I had thought about; I made a list of six possible books, and tried a few rough ideas to start off. Though, each book on my list was very good and this left me torn between which to choose; I struggled to reach this final conclusion that is listed above. My reason for this selection is simple; I love good escapist fantasy stories with heart, bravery and meaning; a good fantasy story, for me, has to have a strong connection to real life, but, living outside the boundaries of realities rules. Ultimately I think of fantasy stories as intriguing fun. Fantasy to me always asks the question, “what if ?”(or “let’s pretend”). It is also the dreaming of a better place; and what it does is, it tries to find meaning and explain human beliefs/ life. Fantasy is a genre of fiction that commonly uses magic and other supernatural phenomena as a primary plot element, theme or setting. The identifying traits of fantasy are the inclusion of fantastic elements in a self-coherent (internally consistent) setting, where inspiration from mythology and folklore remains a consistent theme. Within such a structure, any location of the fantastical element is possible: it may be hidden in, or leak into the apparently real world setting, it may draw the characters into a world with such elements, or it may occur entirely in a fantasy world setting, where such elements are part of the world. Essentially, fantasy follows rules of its own making, allowing magic and other fantastic devices to be used and still be internally cohesive.
Michael W.M. Kaluta
There were a range of inspirations that led me to focus on these designs. Peter Pan Inspirations
(Image left found: tuesdaymourning) right: Google Search Peter Pan Illustrations
J.R.R.Tolkien Illustration Cover and emir0
HarperCollins Publisher’s Collection 2011
Originals Book Inspirations Even though I was very inspired by these original inspirations, I had a change of style; I thought the cover of a book has to be something appealing, decorative and illustrate an aspect of what the book is all about. To have Illustrated that in these styles below would have not interested me in the slightest; for me, I prefer the simpler book cover; if there are illustrations depicting a scene, I feel they would be better off inside the book than on the cover. I feel having an illustration outside the cover depicting a scene in the book, is really like a spoiler alert. I prefer book covers that hint at something about the book, that intrigues the reader, and sparks their imagination.
Link to my Flickr Data Visualisation Page: https://www.flickr.com/photos/115986378@N03/sets/72157643323376063/ Flickr Data Visualisation Page 2: https://www.flickr.com/photos/115986378@N03/sets/72157644169458092/ Flickr Data Visualisation Page 3: https://www.flickr.com/photos/115986378@N03/sets/72157643323349944/
Will Eisner – “The story form is a vechical for conveying information in an easily absorbed manner”.
What Is Higgs?
So What is Higgs Boson?
Storytelling With Data
Daniel Merlin Goodbrey
(Info Found: E-mel hypercomics) My name is Daniel Merlin Goodbrey and everything you see here is my fault. I’m a comic creator and new media lecturer based out of Welwyn Garden City, England. E-merl.com is where I catalogue my experiments in fiction and the comics form. If that all sounds a little dry, don’t worry – I’m sure something horribly violent and amusing will happen if you stick around long enough.
“A principle of identity between content and expression.” – Jan Tschichold
Link: NoisyDecentGraphics. tyepad.com (Written by Ben Terrett, a designer in London.)
Endless Possibilities of Art Direction
Leonardo Da Vinci
(Reference taken from Zollner, F., 2010. Leonardo. Los Angeles: Taschen) Remarkable, extraordinary, almost always favourable – that is the picture of Leonardo Da Vinci handed down by the writers and critics of the past. They describe a multi-talented, endeavouring, attractive young man, who not only astonished his contemporaries as a visual artist, but was equally impressive as a scientist and a musician. While it was widely known that he also had other characteristics which might have caused concern in those days. But while he was spending time on his researches in areas that are no more than passing interest to art, his inconstancy and unreliability meant that he finished very few of his works; his talent strove so strongly for perfection and he was so demanding of himself, that he started numerous things but then cast them aside again. The Vitruvian Man, 1485 A page showing Leonardo’s study of a foetus in the womb, 1510 Da Vinci’s sketches of muscles and skeletons, 1452 – 1519
(Reference taken from Zaczek. I., 2001. Essential William Morris. UK: Parragon Publishing) William Morris was a man of many talents, whose life, and life’s work, made a huge impact on the worlds of literature, design and politics. His many ambitions and achievements expressed a profound commitment and belief in an active creative life for all. Morris experimented with every lecture and poetry. He established the famous design company, Morris and Co., where he enlarged upon the skills he had acquired as an architect to embrace the arts of stained glass, embroidery, wallpaper and furniture design and tapestry. The Brothers Grimm (1857) He made a number of other, sporadic attempts in the field. There is, for example, this single-page specimen, which features part of a story by the Grimm Brothers (The Iron Man). It dates back to 1857, when the artist was just 23 years old, and clearly betrays the influence of his recent student days. The Sleeping Beauty Tile Panel (1862-65) During the 1860s, Morris, Marshall, Faulkner & Co. produced three celebrated tile panels based on well-known fairy tales. These were Cinderella (1862-63), Sleeping Beauty (1863) and Beauty and the Beast (1863). The narrative scenes were designed by Burne-Jones, while the decorative border was fashioned by Morris. The boarder includes a marvellous series of stylised swans. Both Beauty and Cinderella are signed by Lucy Faulkner, and it is highly probable that she was also responsible for painting this series. It was after this, Morris embarked on four large pictures know as the Briar Rose Series (1884-90).
(Reference taken from 2009. Andy Warhol “Giant” Size. London: Phaidon) ANDY WARHOL THE DREAMS THAT STUFF IS MADE OF by Dave Hickey In 1963, Andy Warhol transformed the artist’s studio from a “lonely garret” into a collective, corporate endeavor.He called it the Factory. Sometimes, on Saturdays, the Warhola family would go to the movies, where, unlike his brothers, Andy favoured the films of Shirley Temple – especially the ones in which the spunky little Shirley, armed with nothing more than charm and talent, guts and gumption, valiantly rescues her parents from penury and danger, in which the factory girl ends up owning the factory or the vaudeville kid, born in a trunk, becomes a star. Ultimately, Andy Warhol would do everything that he saw Shirley Temple doing on screen, except for the singing and dancing. He would become a star, own a factory, and rescue his mother from the penury of working-class Pittsburgh. He would do these things by catholicizing the funny papers he poured over as a child, by translating images of American popular culture into the language of the Byzantine icons. “Crazy Golden Slippers” article in Life, 21 January, 1957
“I loved working when I worked at commercial art and the told you what to do and how to do it and all you had to do was correct it and they’d say yes or no.”
Beauty Box: What’s In It For you, Harper’s Bazaar Kay McDowel 1957
“I like boring things.”
Advertisement For Bell System Telephone Service 1928 Marilyn Lips 1962
(Reference taken from 2011. Art. UK: Parragon Lichtenstein preferred to seek out his subjects in popular mass media like comics, from which he transformed motifs from trivial to the monumental. In doing so, he used the traditional comic-book technique of Matrix dots, which he applied with stencils. Crying Girl, 1964 We Rose Up Slowly, 1964 WHAAM!, 1963
Industry Perspective: Campbell Orme, Moving Brands
Client Hitachi Brief to design the user-facing experience of new innovative interactive software, which allowed for remote collaboration, using a protagonist, gesture-based interface. Agency Moving Brands Solution Moving Brands created detailed user journeys, logic flows, user interaction guidelines and a full user interface, for implementation and build by Hitachi Tokyo-based development team. Interview with Campbell Orme, Design Director, Moving Brands Campbell has worked in design and direction roles for a number of international design agencies including Moving Brands, Imagination, BERG, and Pentagram. Campbell’s specialism is interactive installations, software applications and custom hardware-specific software. After your initial briefing, how did you set about structuring the whole project? There were a number of clear phrases in the project, which spanned: requirements gathering, feasibility, information architecture, use flows, user experience (UX) and user interface design (UI). Can you describe the ‘requirements gathering’ phase? Some of the criteria that we look to summarize here are: ‘How do we succinctly describe the perceived outcome?’; ‘What is its purpose and who is it for?’ This last question is especially important as it’s one of the means of validation that we use for ascertaining whether the brief has been met. What research methods did you use to achieve this? Alongside current trend and market analysis, we worked with our client to get under the skin of what were deemed to be the core features of the software. Equally, as the end product was going to be targeted to a specific audience type – corporate, education and civic environments – we looked at what parallel user-case scenarios, away from technology were relevant. Could you explain the ‘feasibility’ phase? What we needed to know from the outset was whether our proposals were technically achievable, for fear of winding up with a design that couldn’t be realized. As there were third-party technologies being employed for some of the messaging and network feature – each with their own API nuances – we had to be aware of how these functioned. What happened next? The next stage looks at the information architecture: the overall structure of the software. This often uses user journeys and slows, to ensure the given steps within a task are efficient and clear. This in turn leads into UX – page layouts and frames – and then eventually overlap, as we find issues that require us to revisit earlier phases. What this all means is that the fidelity and definition of the end product is continually being refined as the project progresses. What form do user journeys take? These are often a combination of paper prototypes, video demonstrations, or clickable interactives. These all have their individual strengths; for example, we find clickable demos are very useful for website wireframes, where we deliberately package up something that looks very rough to give the client a sense of walking through the end product without them fixating on its aesthetic appearance. What is the purpose of video prototypes? It depends on who they’re for. For the development team, they might be rough -and-ready stories to discuss how to navigate the product – to demonstrate a sequence that’s hard to convey on paper. for the client’s CEO, it may have to look very real, with a level of polish or realism that serves to get top level buy-in for the project. You’re developing a new product, so was it important to use familiar visual metaphors for the user interface? As designers and developers, it’s preferable to lean on metaphors and tropes that are familiar to both end users and us. However, we quickly found that some of these weren’t applicable for this project. Designing a gesture based interface for a six-feet-wide screen presents new design problems, as, for example, people’s height and size come into play. You can’t automatically decide on a menu on the left or right of the screen without acknowledging a left-handed or right-handed bias. How do you visually research a project? One of the first things we do is try and understand the client’s visual tone of voice. How do they represent themselves in the real world? Next, we have to access whether what we are doing has to sit alongside it, or has to work completely within it, or indeed has to be distinct. What visual methods of research do you use? We still use moodboards however they manifest themselves, and we often create mood films with sound and moving image that try to reflect the client’s tone of voice. They are not a means to an end in themselves, but they are effective for setting a project’s tone at an early stage, in a format that is self-presenting and easily shared. Did you undertake a formal user-testing? On occasion, we might engage a third-party user-testing company to organize formal assessments and focus groups within our target audience, but for confidentiality reasons this was less viable with this project. However, we did a lot of user-testing with the client’s development partner – the teams at Moving Brands and Hitachi’s team in Japan – and with people in our studio not directly involved with the project.
Colour Scheme Designer Kuler Adobe Pictaculous Colour Guide Adobe Illustrator
The Tommy Portfolio Site
Project 03 Data Visualisation
For this final project we are to convert a set of statistics from the link below into something that can be easily understood by as wide an audience as possible. Global Death Penalty Statistics A few contemporary visualisations worth checking out are:
I took many elements from these designs as my influence for my final design, through the layout. I was very much impacted with how everything was organised on these charts; that they became the basis for my inspiration and ideas. For my designs I wanted to achieve these to the best of my ability. My Graph Charts In the earliest stages of this project I was confused as to what information on the stats from the webpage we were to put into a graph. I soon found out that it was only the totals section. I used Microsoft Excel for these charts. Final charts
Going back over my charts these were the two that I used for the final design of my infograph. I traced over them and gave them a different colour code. Early Design Attempts
These were my early attempts; I decided to go with my final version because I feel that it give the most information and had a better design quality/layout that I liked.
I really liked this final design, as it could progress into a web page; my goal for this project was to try and get a infograph that could be developed as a webpage.
Process of Interactive Design
Some books on Data Visualisation that I found to research.
I loaned two books by this artist called Visual Explanations: Images and Quantities, Evidence and Narrative and Second Edition – The Visual Display of Quantitative Information. My tutor had mentioned this artist in our tenth week; suggesting we get our hands on some of these books. They are very fascinating reads explaining Data graphics visually, by demonstrating the combined use of points, lines, a coordinate system, numbers, symbols, words, shading and colour.
The third image was partly my inspiration for my original idea for this project. Only with my project I knew I would have to create a better design; something that would advertise and interest my audience. While also having a similar idea as to inform them with facts about a particular topic.
I also found some very useful information on letterform; these images demonstrate the weight and height of a letter, the font style and go into further history about such letterforms as the Trajan Inscription. http://www.youtube.com/watch?v=w8Z6_0VS6Wc These two books also reference many of William Playfair’s graphs and charts; they are very structured drafts with a very interesting design. They are very appealing graphs to look at. William Playfair was a Scottish engineer and political economist, the founder of graphical methods of statistics. William Playfair invented four types of diagrams: in 1786 the line graph and bar chart of economic data, and in 1801 thepie chart and circle graph, used to show part-whole relations.
Aaron’s work uses real-world and community generated data to reflect on cultural trends and the changing relationship between humans and the systems they create. His work is part of the permanent collection of the Museum of Modern Art (MoMA) in New York, the Victoria & Albert Museum (V&A) in London, and the Centre Pompidou in Paris. His projects have been shown at international festivals including TED, Sundance, Tribeca Film Festival, Ars Electronica, SIGGRAPH, OFFF, the Japan Media Arts Festival, and more. He received the National Science Foundation’s first place award for science visualization and two of his music video collaborations have been Grammy nominated. He received his MFA in Design|Media Arts from UCLA. In 2010 Aaron was the Abramowitz Artist in Residence at MIT and he leads the Data Arts Team in Google’s Creative Lab.
The Johnny Cash Project
http://www.thejohnnycashproject.com The Johnny Cash Project is an interesting interactive global project, in which anyone from any part of the world can take part in. Through the interactive website participants can draw their own portrait of Johnny Cash to be integrated into a collective whole. There is also a section that allows you to past a certain frames and see the art work, it also give credit to who painted the piece and their location in the world. You can even see the process of how the frames were painted.
The Wilderness Downtown
I decided to create one more idea for the design of my infographic, this time taking only eight countries for both Executed and Sentence to Death results. I used people icons to represent the sentenced to death, and hangman’s nose to represent the executed.
The compass image was taken from GOOGLE on a website called http://forum.girlscene.nl/forum/beauty-health-hair/het-grote-tattoo-topic-104767.7350.html.