So I began some of my experimenting earlier (when we were given a brief introduction):
^This was only to start off. Then I stopped because I was falling behind on the paragraph.
^Problems? My idea was heavily inspired by the kind of work we were doing in Imaging. I used overlays, shapes and bands of blending modes to make the image look ‘interesting’.
The idea was also heavily flawed as I found out from the discussion.
I’m quite ‘over-exuberant’ with my experimentation. Also, the logo was designed ‘black and white’ and we can’t mess with the logo. I had to keep it black and white, and not mess with the scale. Another thing was that I was ‘smothering’ my hook. Instead of showcasing my word I tried creating a hook of it (a hook of my hook). I shouldn’t double my hook.
Another thing that I had sensed was a problem (but was hoping that it wouldn’t be) was that the text on the carpet texture was illegible.
The professor pointed out that I had already created landmarks for intervals for myself. I did? I didn’t realise until he pointed out the suitcase and stuff in my image. I could either use them or use the 3rds rule.
This was also the lesson where we properly learned the ‘technicalities’ of making a poster:
- posters are always about message delivery
- GRAB ATTENTION – number one thing. Hook.
- posters – industrial revolution – newspapers
- walking -designed for pedestrian society. people had time to stop and read. these days there are not many pedestrians so not many posters (in some areas)
- We’re post poster!
- ^ helps understand how to communicate a message. How to create a Hook. > helps with design in general.
- Distance in space – hook is bait from distance. depends on context
- 1st level – hook – on average 15-10m hook should catch audience’s eye.
- Hierarchy for hook:
- Image (photographic or type as image) – catch and grab.
- then reel it in.
- 2nd level – on average halfway distance – information is revealed (via text at a certain scale, image at a scale)
- 3rd level – all the info (poster will now reveal itself).
- Consider: Placement – composition – SCALE – contrast
- LOGO – name next to it can be black and a color – complementary or the same.
- ^ can go in a corner, depends. centre on bottom, and top or edges
- you can frame things in boxes, layered on top of each other. It has DEPTH.
- Hook is further back in the picture plane (image).
So after the first discussion, I started doing some research to know where to place my logo. I didn’t want to integrate it too much, that it look forced or took away from the composition but I didn’t want it to seem like it was there to just be there.
I experimented with a bunch of fonts to get something that would match the logo style (Avenir, Fedra serif, baskerville is too thin? Bauhaus, matches logo…but looked ugly ugly. Abadi. future)
^ This looked best
^ The type for the sentences also had to be adjusted from caecilia to garamond (to match the rounded finials in the type for euphoric). Initially I thought that the type didn’t have to match the type in the image (since it was now more of an image than type). But my friend suggested that it needs to match, otherwise it would look odd.
^ deciding between whether to wrap the box around the type strictly (making a smaller area for the outdented sentence) or whether to make it like a rectangle all the way around.
^wrapping the box looked better, the struggle was getting aesthetic colours, I used the eyedropper tool to pick colours from the image, but most of them looked gross.
^ using the suitcase and letters as a landmark
^still deciding between colours
^ I used the interval between the h and the suitcase to distance my paragraphs. This way the left paragraph didn’t line up with the stem of the p, it looks odd but the space between the paragraphs (around the h’s stem) looks balanced. I tried to get the outdent to have a relationship with the serif of the h.
^ Making final choices in the colour of the paragraphs. black and blue looked the best.
^ experimenting with different placements for the sentences
^ I decided to use the suitcase and the letter r as intervals to place my sentences.
^ what I had tiled for the critique.
Here I thought i was close to being done.
Even though my choices of colour of blue type (with black) works. the box around it is too restricted, I need to give space to the type (around 2 ms). I could also vary the blues.
And interesting suggestion I got was to instead of a box, I could use fabric. The box looks unnatural for the image in my case.
The thing is, I knew something was wrong with the box since I questioned my choice of it’s colour during the critique (when they asked what I needed to discuss). I didn’t realise that it was the box itself that looked out of place and not the colour.
The size of the sentence type was also too small, in comparison to the word. It was also too spaced out, it could be clumped together or in a line.
This part I didn’t get:
The paragraphs need to be related to more significant landmarks, my current intervals weren’t clear enough. I was suggested that I could put text in the frame of fabric of the suitcase, to look more natural and connect more to the image and take the eye around in a circle.
When it came to the others some were too symmetrical in their compositions.
I understood that could break the idea of the grid at some point, to create more emphasis. So, align and have a grid or break the grid? align strictly and then break on thing?
Since I wasn’t sure about what they said during the critique I discussed it again. What I understood this time was that I shouldn’t force alignments of intervals and compositions. I could use the rule of 3rds and intervals as guides but I shouldn’t be too hesitant to break the rules.