"Hollywood-Love" ƃuıɹıdsuı Inspiring sɹǝuƃısǝp Designers; On-The-Line Rèsumé; ✈ ©¿® ♥ № ♐☮ζ☮∞♀♥¿♥♂™: April 2012
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Monday, April 30, 2012

DESIGN INSPIRATIONS

Designs I like

I came across these images from IdN magazine -( International designers Network Magazine)
DESIGN STUDIO
The word FANTASIE made out of balloons captured my eye as well as the TALENT word above.

DESIGN CONCEPTS


Grids, Layout and Flow

The image below does not follow a grid system as all the elements on the page are scattered and not in line properly with each other.

DOES NOT FOLLOW A GRID SYSTEM
The image below follows a grid system as each photo is in line both vertically and horizontally.
GRID SYSTEM EXAMPLE

Learning Activity PART B – Resigning a layout

COUNCIL INITIATIVESDESIGN FROM SCRATCH

WEBPAGE LAYOUT SKETCH










Saturday, April 28, 2012

Typefaces


Typeface Text

Baskerville


Baskerville is a transitional serif typeface designed in 1757 by John Baskerville (1706–1775) in Birmingham, England. Baskerville is classified as a transitional typeface, positioned between the old style typefaces of William Caslon, and the modern styles of Giambattista Bodoni and Firmin Didot.



The Baskerville typeface is the result of John Baskerville’s intent to improve upon the types of William Caslon. He increased the contrast between thick and thin strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical position. The curved strokes are more circular in shape, and the characters became more regular. These changes created a greater consistency in size and form.



Baskerville’s typeface was the culmination of a larger series of experiments to improve legibility which also included paper making and ink manufacturing. The result was a typeface that reflected Baskerville’s ideals of perfection, where he chose simplicity and quiet refinement. His background as a writing master is evident in the distinctive swash tail on the uppercase Q and in the cursive serifs in the Baskerville Italic. The refined feeling of the typeface makes it an excellent choice to convey dignity and tradition.



In 1757, Baskerville published his first work, a collection of Virgil, which was followed by some fifty other classics. In 1758, he was appointed printer to the Cambridge University Press. It was there in 1763 that he published his master work, a folio Bible, which was printed using his own typeface, ink, and paper.

The perfection of his work seems to have unsettled his contemporaries, and some claimed the stark contrasts in his printing damaged the eyes. Abroad, however, he was much admired, notably by Fournier, Bodoni (who intended at one point to come to England to work under him), and Benjamin Franklin.



Bodoni

Bodoni is a series of serif typefaces first designed by Giambattista Bodoni (1740–1813) in 1798. The typeface is classified as Didone modern. Bodoni followed the ideas of John Baskerville, as found in the printing type Baskerville, that of increased stroke contrast and a more vertical, slightly condensed, upper case, but taking them to a more extreme conclusion. Bodoni had a long career and his designs evolved and differed, ending with a typeface of narrower underlying structure with flat, unbracketed serifs, extreme contrast between thick and thin strokes, and an overall geometric construction. Though these later designs are rightfully called “modern”, the earlier designs are “transitional”. Among digital versions, there are two good examples of the earlier, transitional period: Sumner Stone’s ITC Bodoni, and Günther Lange’s “Bodoni Old Face” for Berthold. Virtually all other versions are based on Bodoni’s most extreme late manner. Bodoni admired the work of John Baskerville and studied in detail the designs of French type founders Pierre Simon Fournier and Firmin Didot. Although he drew inspiration from the work of these designers, above all from Didot, no doubt Bodoni found his own style for his typefaces, which deservedly gained worldwide acceptance among printers.




Century

Century refers to a family of type faces derived from the original Century Roman cut by American Type Founders’ designer Linn Boyd Benton in 1894. Despite originating in the nineteenth century, use of the typeface remains strong, for periodicals, textbooks, and literature. The faces are noted for their exceptional legibility, so much so that the Supreme Court of the United States requires that briefs be typeset in Century family type. With the merging of twenty-three foundries into American Type Founders in 1892, Linn Boyd Benton’s son, Morris Fuller Benton, was given the task of consolidating and purging the faces of these manufacturers into a coherent selection. Following this, he was given the task of adapting Century No. 2 to meet the Typographical Union standards of the time. Records now in the Smithsonian show that M.F. Benton not only re-designed his father’s face, but did so with reference to #16 Roman of the Bruce Type Foundry which A.T.F. had recently acquired. (And which, probably not coincidentally, had been introduced in the Bruce Foundry catalog of 1877 which had been printed by De Vinne.)



Century from Webmaster

Garamond


Garamond /ˈɡærəmɒnd/ is the name given to a group of old-style serif typefaces named after the punch-cutter Claude Garamont (also spelled as Garamond, Latinised as garamondus) (c. 1480–1561). Many of the Garamond faces are more closely related to the work of a later punch-cutter, Jean Jannon. A direct relationship between Garamond’s letterforms and contemporary type can be found in the Roman versions of the typefaces Adobe Garamond, GranjonSabon, and Stempel Garamond.

Garamond’s letterforms convey a sense of fluidity and consistency. Some unique characteristics in his letters are the small bowl of thea and the small eye of the e. Long extenders and top serifs have a downward slope.

Garamond is considered to be among the most legible and readable serif typefaces for use in print (offline) applications. While some unscientific studies have periodically noted that it uses much less ink than Times New Roman, expert analysis points out that the savings is due to it being 15% smaller at a given point size. Garamond, along with Times New Roman and Century Gothic, has been identified by the GSA as a "toner-efficient" font.



Garamond from Webmaster

Helvetica


Helvetica is a widely used sans-serif typeface developed in 1957 by Swiss typeface designer Max Miedinger with Eduard Hoffmann.

Helvetica was developed in 1957 by Max Miedinger with Eduard Hoffmann at the Haas’sche Schriftgiesserei (Haas type foundry) of Münchenstein, Switzerland. Haas set out to design a new sans-serif typeface that could compete with the successful Akzidenz-Grotesk in the Swiss market. Originally called Neue Haas Grotesk, its design was based on Schelter-Grotesk and Haas’ Normal Grotesk. The aim of the new design was to create a neutral typeface that had great clarity, no intrinsic meaning in its form, and could be used on a wide variety of signage.

When Linotype adopted Neue Haas Grotesk (which was never planned to be a full range of mechanical and hot-metal typefaces) its design was reworked. After the success of Univers, Arthur Ritzel of Stempel redesigned Neue Haas Grotesk into a larger family.
In 1960, the typeface’s name was changed by Haas’ German parent company Stempel to Helvetica in order to make it more marketable internationally. It was initially suggested that the type be called ‘Helvetia’ which is the original Latin name for Switzerland. This was ignored by Eduard Hoffmann as he decided it wouldn’t be appropriate to name a type after a country. He then decided on ‘Helvetica’ as this meant ‘Swiss’ as opposed to ‘Switzerland’.


Helvetica from Webmaster

trajan Pro Regular

Trajan is an old style serif typeface designed in 1989 by Carol Twombly for Adobe. The design is based on the letterforms of capitalis monumentalis or Roman square capitals, as used for the inscription at the base of Trajan’s Column from which the typeface takes its name. Since the inscription and its writing form manifests in only one case, Trajan is an all-capitals typeface. Instead, small caps are commonly used, and a more complete set of glyphs contained in Trajan Pro (a 2001 update of the original typeface) includes a lower case of small caps.
Although Twombly was the first to do a very literal translation of the Trajan inscription into type, a number of interpretations (with added lowercase alphabets) predate Twombly’s, particularly Emil Rudolf Weiss’ “Weiss” of 1926, Frederic Goudy’s 1930 “Goudy Trajan,” while Warren Chappell’s “Trajanus” of 1939, while having similar forms for capitals has a markedly medieval lowercase. There are also numerous prominent typefaces that are not revivals, but owe a very clear debt to the Trajan letterforms, most notably Hermann Zapf’s 1955 Optima.
http://en.wikipedia.org/wiki/Trajan_(typeface
Carol Twombly (born 1959) is an American calligrapher and typeface designer who has designed many typefaces, including Trajan, Myriad and Adobe Caslon. She worked as a type designer at Adobe Systems from 1988 through 1999, during which time she designed, or contributed to the design of, many typefaces. She retired from type design in early 1999, to focus on her other design interests, involving textiles and jewelry.



Trajan from Webmaster

TYPEFACE QUICK REFERENCE CHART EXAMPLE
TYPEFACE QUICK REFERENCE 



FILING SYSTEM


File Structure

File structure is very important in the Graphic Design Industry. Graphic Designers need to be efficient in this area, as often they are sending files to a commercial printer for publication. If something is missing, like a picture is missing from in a file (a link being broken), it may delay your job being printed.


Friday, April 20, 2012

LOGO



Fruitshop Identity

This Learning Activity introduces the graphic designer/pre-press operator to interpret a design brief and apply it a checklist. The checklist defines the design brief, such as what is the objective of the project? Who is the client? Who is the audience? Once this has been worked out the designer can follow the process systematically and complete the task on hand.

Brief:

A new upmarket fruit shop called Fruitshop requires an identity. They are after a modern contemporary design that uses colour as the main design element. They don‟t want a logo that uses typical fruit shapes. Fruitshop plans to stock a wide range of in season fruit sourced from around the world.
They require:

1. a logo for the shop
2. a T shirt design for promotional purposes
3. a business card 90 x 55mm
4. a simple illuminated sign for the shopfront 1500mm X 500mm
(reduce to fit on A4 page)

Summary:

Thumbnailing is a process of creating quick but small pencil sketches of the initial idea. It is still
considered the most efficient way of drafting initial visuals before hitting the computers.

Research:

Produce your own design creative checklist into a format you can easily recognise and use for
future assignments in this course.

 Read Chapter 1, page 19 – “The Design Process and the Audience”. Graphic Design
Australian Style Manual 2012.

Creative Checklist

Step 1: Define the design problem.

1.1 Who?
1.2 What?
1.3 When?
1.4 Where?
1.5 Why?

Step 2: Investigate.

2.1 Research.
2.2 Analyse information.

Step 3: Generate ideas.

3.1 Brainstorm.
3.2 Make lists.
3.3 Make sketches.

Step 4: Choose solutions.

4.1 What will final solution be?
4.2 Describe the solution in a rationale.

Step 5: Evaluate design solution.

5.1 Does the solution solve the design problem?
5.2 Does it need to be redesigned or modified?
5.3 What improvements would I make?

Step 6: Production Plan.

6.1 What software will I use to complete this task?
6.2 How much time do I need?

FRUIT SHOP MIND MAP
FRUIT SHOP MIND-MAP

FRUIT SHOP LOGO SKETCH IDEAS
FRUIT SHOP LOGO IDEAS

FRUIT SHOP BUSINESS CARD SKETCH IDEAS
FRUIT SHOP BUSINESS CARD DESIGN PROCESS

FRUIT-SHOP BUSINESS CARD
FRUITSHOP BUSINESS CARD 

THESE NUTS
NUTZ

FRUIT SHOP COLOR IDEAS
FRUIT - SHOP LOGO DESIGN PROCESSES

LEAF SKETCH SHADE
LEAF SHADED

FRUIT SHOP IDEAS IN BLACK AND WHITE
FRUIT - SHOP BLACK & WHITE 

FRUIT SHOP SIGNAGE DRAWING
FRUITSHOP SIGNAGES

SCANNED LEAF IMAGES
PICKED SOME LEAVES FOR INSPIRATION

FRUIT SHOP SIGNAGE DESIGN PROCESS
FRUIT SHOP SIGNS PROCESS

FRUIT SHOP LOGO
FRUIT SHOP LEAF LOGO
Fruitshop logo traced in Illustrator CS6


SHADED LEAF DRAWING

LEAF SHADES
LEAF LOGO DESIGN PROCESS

T-SHIRT DESIGN PROCESS
T-SHIRT DESIGN PROCESSES

T-SHIRT DESIGN
T-SHIRT DESIGNS

Tuesday, April 17, 2012

Colour Meanings


Colour Schemes, Emotions and Meanings1. Colour Scheme Your client whose Brisbane-based business is supplying OH&S resources to Civil & Mechanical engineering fields needs a new business identity/ brand. What could you suggest would be the colour scheme for this client for their logo and corporate identity package? 
Fill the swatches below with your choices (see screenshot below on how to do this in MS Word). Note: you don’t need to use all the swatches. 
Explain why you chose these colours.
I would suggest a Complement colour schemes making it contrast. The colour and its complement would convey energy, vigor and excitement which would be ideal for Occupational Health and Safety resources.
2. Colour Scheme Your client whose business is producing rugged outdoor footwear for the domestic (Australian) market has developed a new range for teenage girls. What could you suggest would be the colour scheme for this new brand? Fill the swatches below with your choices. Explain why you chose these colours. 
I would suggest an Analogous colour scheme which share strong undertones which create pleasing low contrast harmony. The Analogous palettes are rich and easy to work with.
3. Colour SchemeA client who represents an Australian Govt. agency to support drug rehabilitation services needs a new corporate identity for them. What could you suggest would be the colour scheme for this agency? Fill the swatches below with your choices.      Explain why you chose these colours.
A room with lots of dark colours and little contrast might also promote isolation and/or depression. Of course fluorescent tie-die isn’t the way to go either, but white, off-white, sky blue, and other soft colours provide a better atmosphere for a healthy mind. Lighting is also important. Closed shades and low light levels sometimes make drug rehabilitation more difficult.http://www.health-guide-online.com/drug-rehab.html
I would suggest a Secondary colour scheme as it would have more pleasing depth and dimension that are hard to get in other ways.








4. List 3 free-to-use online software tools to help you develop colour schemes. List their URLs and describe the one you like best and why you like it.
http://www.smashingapps.com/2009/12/17/50-best-free-tools-to-create-perfect-color-combinations.html

Color Scheme Designer 
Color Scheme Designer is a brand new interface, as well as the engine, all rewritten from the scratch. Rapidly increased precision and colour space conversions, better preview, enhanced scheme creation system; unique scheme IDs and permanent URL of the scheme.http://colorschemedesigner.com/
Hex Color Scheme Generator
This is a great tool to use if you want to develop a matching colour scheme for your site. Say you want your nav colour to be #000066 (navy blue) and you want to know what colours would go best with it, this tool will help you.http://www.2createawebsite.com/build/hex-color-scheme-generator.html
Check My Color
It is a tool for checking foreground and background colour combinations of all DOM elements and determining if they provide sufficient contrast when viewed by someone having colour deficits.http://www.checkmycolours.com/
I liked the Check My Colour online software tool as it let me check my URL http://resumejourney.blogspot.com/ providing these interesting results:
Testing done on 826 elementsLuminosity Contrast Ratio: 592 failuresBrightness difference: 691 failuresColour difference: 696 failures
  

5. Using the BAM (Before & after Magazine) colour wheel. 
Primary colours. Use the swatches below to represent Primary colours:







Secondary colours. Use the swatches below to represent Secondary colours:




Tertiary colours. Use the swatches below to represent Tertiary colours:





Warm colours. Fill the 3 swatches below with examples.






Cool colours. 






6. Colour Emotions / Colour Associations According to “Western” perception of colours, describe the emotion associated with the following colours and provide an example of its use in contemporary culture.
Colour emotion exampleRed Energy, war, danger, strength, power, determination as well as passion, desire, and love. Valentine heartBlue Trust, loyalty, wisdom, confidence, intelligence, faith, truth, and heaven. Police OfficerWhite Light, goodness, innocence, purity, and virginity. Dove ReligionBlack Power, elegance, formality, death, evil, and mystery. FuneralYellow Joy, happiness, intellect, and energy. SunshineDark Green Ambition, greed, and jealousy. MoneyLime-green Growth, harmony, freshness, and fertility. NatureChrome Boldness, dignity, self- control, wisdom, responsibility, organisation and insight. Harleys and Choppers.Orange Enthusiasm, fascination, happiness, creativity, determination, attraction, success, encouragement, and stimulation. Oxygen, autumn and harvest.Pink Romance, love, and friendship. It denotes feminine qualities and passiveness. Forgive and nurture.Grey Conservative, security, maturity, reliability, cool, composed, intelligence, staid, modesty, dignity,solid, practical, old age,Sadness and boring.   LonelinessPurple Power, nobility, luxury, and ambition. RoyaltyBrown Stability and denotes masculine qualities. Earth


Note: To do the following activity you’ll need to determine the RGB value for a colour using MS Word. You can find this out by using the Shape Fill palette / more fill colours/ Custom (see below):
 

7. Demonstrate your understanding of the following colour terms:
Hue. Show an example of “hue” in the swatch below and name it. Indicate its RGB value.



Purple can balance the mind and transform obsessions and fears.RGB Red=128 Green=55 Blue=183
Lightness. Make the hue you chose lighter and represent it in this swatch. Indicate its RGB value. Hint: Use the vertical slider in the colours dialog box to “lighten” a hue. 


RGBRed=220 Green=197 Blue=237
Saturation. Pick a new hue and in the swatches below represent it at 3 levels of saturation: 
Hint: In MS Word, use HSL instead of RGB Colour model to easily change the saturation value, see below left:
 



Define Tint
1. a shade of a colour, especially a pale or delicate variation.2. A gradation of a colour made by adding white to it to lessen its saturation.3. A slight coloration; a tingedhttp://www.thefreedictionary.com/tint
Define Shade
A shade is a hue or colour with black (or any other dark colour) mixed into it. This creates a darker version or a darker tone of it. You can have more than one shade of a colour, depending on how much has been mixed into it.

The opposite of a shade is a tint.
Define Tone
In art, tone refers to the degree of lightness or darkness of an area. Tone varies from the bright white of a light source through shades of grey to the deepest black shadows. How we perceive the tone of an object depends on its actual surface lightness or darkness, colour and texture, the background and lighting. Tone is may be used broadly ('global tone') to denote the major planes of an object; realist artists use 'local tone' to accurately denote subtle changes within the plane.Dictionary entries sometimes use define tone or as referring to colour, but artists use hue or Chroma to refer to this quality, preferring to use tone, tonal value, or value to describe lightness or darkness.http://drawsketch.about.com/od/drawingglossary/g/tone.htm
Define Gamut
In colour reproduction, including computer graphics and photography, the gamut, or colour gamut (pronounced /ˈɡæmət/), is a certain complete subset of colours. The most common usage refers to the subset of colours which can be accurately represented in a given circumstance, such as within a given colour space or by a certain output device. Another sense, less frequently used but not less correct, refers to the complete set of colours found within an image at a given time. In this context, digitizing a photograph, converting a digitized image to a different colour space, or outputting it to a given medium using a certain output device generally alters its gamut, in the sense that some of the colours in the original are lost in the process.http://en.wikipedia.org/wiki/Gamut
Define Gradient
In computer graphics, a colour gradient (sometimes called a colour ramp or colour progression) specifies a range of position-dependent colours, usually used to fill a region. For example, many window managers allow the screen background to be specified as a gradient. The colours produced by a gradient vary continuously with position, producing smooth colour transitions.
A linear colour gradient is specified by two points, and a colour at each point. The colours along the line through those points are calculated using linear interpolation, and then extended perpendicular to that line. In digital imaging systems, colours are typically interpolated in an RGB colour space, often using gamma compressed RGB colour values, as opposed to linear.
A circular gradient is specified as a circle that has one colour and a focus (the centre of the circle) that has another. Colours are calculated by linear interpolation based on distance from the focus.
http://en.wikipedia.org/wiki/Color_gradient
Properties of Colour:  - Each colour has a name = hue  - It is either light or dark = value  - Colours are either warm or cool = temperature  - Either bright or dull = intensity
The difference between tint, tone and shade:  - Colour plus black added = shade - Colour plus grey added = tone  - Colour plus white added = tint
http://coloredpencilpoints.com/defining-tints-tones-and-shades-apart-from-the-other-aspects-of-color
Contrast & HarmonyDesigners employ colour contrasts, scale contrasts and style contrasts to direct flow, establish focus, and control overall layout hierarchy. 
In terms of colour, represent the different types of contrast using the pairs of swatches below: 

Contrast of Value





Contrast of Hue






Complementary Contrast





Contrast of Saturation





Cool / Hot Contrast


Colours
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