WEEK 3 CHECKLIST OF WHAT SHOULD BE DONE FOR ESPIONAGE 2

 BTEC 2^ND YEARS ESPIONAGE WEEK 3 

The good news is that this is the last project this term- you have just got to hand this in!!!!! 

 

 MINIMUM SUBMISSION REQUIREMENTS:

 

PLEASE REFER TO YOUR BRIEF FOR ALL OF THE BELOW.  YOU CANNOT PASS THIS PROJECT WITHOUT  FOLLOWING YOUR PROJECT BRIEF.

 

• Research of 2 book covers .  These should be analysed with questions answered in sketchbook a- j 

• Look at BAYER, BROWNJOHN, BRODY AND WARD and compare and constrast their work .  Please annotate and document.  Answer questions  in as much depth as possible.  Remember it is about how they use type. 

• Work in the style of these designers 1 responses each  

• 6 (A3) sides of initial research in sketchbook to include  written brainstorms,  google moodboard, 2  different storyboards planning for photos 

• 2 photographic shoots each containing  5-10 shots  

• 10 (A3) sides of development to include 2 varying ideas. This should include 2 pages of type experimentations and varying mock ups and  experimentations using  materials produced in workshops.   

• IT IS YOUR RESPONSIBILITY TO MAKE SURE YOU HAVE COVERED THESE WORKSHOPS IN FULL.  IF YOU HAVE BEEN ABSENT ,THEN YOU MUST TAKE STEPS TO COMPLETE  IN DIRECTED STUDY TIME.

• 5 pages of development that shows how you have developed your bookcovers with varying editions, changes, type experiments etc.

• 2 final ideas mocked up  and lots of development of the ideas with slight changes.  Covers can be using work from Spin 1 for one cover if you wish. 

• Complete  an in-depth  800 word evaluation  answering in as much detail as possible questions 1-12.   

Please make sure you have annotated your pages in great depth and make special reference to how you have used letterforms and jargon that these refer to.   If you want to pass then please follow evaluation sheet and have a look at the unit critieria for the unit headings. It is much easier this way to work out what you should write about.   

 

ARTIST RESEARCH SPIN 2

ARTISTS RESEARCH SPIN 2

All has been mailed to you but if you havn't yet done this then you are behind!  Please note you must compare and constrast otherwise you will not pass the criteria! :

HISTORICAL AND CONTEMPORARY TYPOGRAPHY

HISTORICAL

Herbert Bayer  (April 5, 1900 – September 30, 1985) was an Austrian and American graphic designer, painter, photographer, sculptor, art director, environmental and interior designer, and architect, who was widely recognized as the last living member of the Bauhaus

 Robert Brownjohn  (August 8, 1925-  August 1, 1970 )who was an American graphic designer known for blending formal graphic design concepts with wit and sixties pop culture. He is best known for his motion picture title sequences, especially From Russia with Love and Goldfinger. 

CONTEMPORARY

Neville Brody April 23, 1957 (age 58),  is an English graphic designer, typographer and art director. Neville Brody is an alumnus of the London College of Printing and Hornsey College of Art, and is known for his work on The  Face . 

Craig Ward  Born: August 1981 is a British-born, New York-based designer and art director primarily known for his pioneering typographic works and often scientific solutions to projects.

Find out about all the typographers and answer the following: P1,M1,D1, P2,M2,D2

·         What characterises their work and style, what are they known, famous for?

·          What fonts have they invented?

·         What are the differences between these practitioners .

·         Compare and contrast how typography has changed and moved onward within their work.  

·         Find out how typography has been put together in highly experimental ways for the time they were working. 

·         Document and analyse their work.

·         How do they use typography that is unconventional and experimental? 

·         What is the movement of Bauhaus and how does this  characterise the typography that Bayer produced?

·         Try to use words such as: italic,bold, sans serif, caps,lower and upper case, symbol, readability, distortion, displacement, weight of text.

·         Work in the style of each of these. 1 responses per designer

 

Herbert Bayer  1900 –  1985 HISTORICAL 

Herbert Bayer

 HISTORICAL  

Robert Brownjohn    1925- , 1970

 HISTORICAL

Robert Brownjohn

HISTORICAL

Robert Brownjohn

HISTORICAL

Neville Brody born 1958 58 yrs

 CONTEMPORARY

Neville Brody

CONTEMPORARY



Craig Ward

CONTEMPORARY

Craig Ward born 1981 age 34

SPIN 2 ESPIONAGE WEEK 2 HOMEWORK

Homework week 2   Graphic/Illustration – ESPIONAGE

Please make sure you have completed work from week 1 – brainstorming moodboards,  ,bookcovers, plot description, brainstorming, artist research  with specific questions answered  in as much depth as possible.  Please annotate your pages as you go. 

·         From your photos produce 5 more sustained images to translate your photography further.   

·         pencil/ biro  sustained

·          monoprints or carbon paper

·          Acetate collage with sewing

·          Gold card

Look at http://www.typeworkshop.com/

and  http://handmadefont.com/

Choose  2 artists and work in the style of these with your word/author.

5 different backgrounds for use within your bookcovers using found materials such as

·         fabrics,

·         newspaper/magazines/tissue paper cuttings text/newspaper headlines

·         maps

If you havn’t completed these techniques from week 1 show a diverse range of  different ways to write Spin, and author  to show experimentation and for possible usage within covers. 

Use:

·         print out numbers, letters for coding

·         old books- burn cut and staple

·         old letters ( I have these for photocopying)

·         A puzzle, picking out words on a newspaper, novel page

·         Kidnapping writing with magazines/lettraset

·         x ray writing inverted on photocopier

·         Cardboard cut out and light text in booth

·         Found objects

·         Masking tape, insulation tape/cardboard

·         shredded paper

·         stamp letters on envelopes

·         Scratching into Photo negatives/Scratching into photographic paper

·         Smudging words on dustbin lid

·         Overlaid coding on computer,

·          Handrawn with carbon paper

·         acetate cut up and set in ice, broken glass etc

·         Scratching into surfaces ink and stick

·         Hand drawn text

·         Collage- magazine letters,

·         Lettraset and insulation tape

•  Found text appropriate to your idea using objects, such as tape, numbers, telephone cable, wires etc.

FINAL WEEK SPIN 1

WEEK 2 SPIN TOPS CHARMIAN’S GROUP

PLEASE MAKE SURE YOU HAVE DONE EVERYTHING FROM WEEK 1 SEE PREVIOUS POSTS BUT IN ADDITION:

·        1 lino spinning tops printed to show movement, displace, show series

·        2 wire prints, ditto

·        Set of experimental photogrames using images on acetate, with text etc in Charmian’s lesson this Friday.  Please have money and acetates ready

·        Screen printing tests and prints onto paper and fabric- Gayle's lesson 

·        5 manual pieces  recycled cut out text, hand drawn,  from magazines  etc. 

·        CAD work with Paul, please have some hand rendered images scanned in for his lesson.

·        3 pages of self – motivated work showing highly experimental processes using combinations of the above.  This can be a continuation of any of the above techniques or a new idea of your own based on spinning tops. Please be aware of time however, you may work from any of your photos of light trails, booth  etc

      Comprehensive annotation to individual pieces on each of your pages including the process you used and what you think is valuable on these images. 

·        Evaluation – Is on the brief- Remember units are printmaking and experimental photography so please answer questions in detail with reference to specific pieces that you show in your evaluation.

·        Deadline for this project is Monday 9 ^th November

SPINNING TOPS 1 TO BE COMPLETED OVER HALF TERM HOMEWORK WEEK 1

• BTEC 2^ND YEAR SPINNING TOPS       WEEK HOMEWORK WEEK 1 AND FOR HALF TERM.

• BRIEF IS ON MOODLE AND HAS BEEN MAILED TO YOU ALL
•  YOU WILL NEED TO READ THIS TO DO YOUR RESEARCH . YOU CANNOT COMPLETE IT WITHOUT THE BRIEF

• ·        Massive brainstorm on all things that spin in as much detail as possible covering an A3 page, give me all detail about the idea as much as possible ie washing machine- spin cycle-dryer- washing symbols- clothes tangled up inside -cycle- water gushing in all directions- steam- 100 revs per minute- drum inside text revolving around inside machine –DETAILED TRAIN OF THINKING OF words, drawings, doodles!
• ·        Initial Google imagery mood board for your brainstorm.  A3 side
• ·         (Research) on Futurism  questions on sheet on brief a b
• ·        4 printmakers with questions – follow these on brief you will not pass without!·         Document images, answer with intelligent consideration.  Please put this into your own words I want to know what you think about this work not what someone else has said. 

• ·        2 forms of printmaking analysed,  500 words follow questions
• ·          5 pages of quality drawing:·        at least 3 pages of sustained tonal drawings showing a working analysis of the spinning tops, or other things that show movement large and small scale.   Other drawings may be quick, more spontaneous imagery.

• These can be:
• ·        Spinning drawings dipped in ink, scanned, photo-shopped, manipulated, spyrograph
• ·        Ink and stick drawings, pencil,
• ·        Charcoal /food colouring and bleach
•     2 good gold cards showing travel of movement.
• ·        15 photos of spinning tops in booth printed out and stuck in
• ·        15 photos of general movement light trails, cars, people, fireworks etc to suggest dynamism (slow shutter speed and small aperture).    You will need a tripod.  Print these photos out and stick in selections along with thumb nails.
• ·        2 dustbin lid pictures with text added on versions.

•  ·        If you are behind with ANYTHING COMPLETE!  TO CATCH UP. 

• ·        If you have not yet done your personal statement then this is your last chance.  You must get this to me asap to avoid your application being late.
• ·        Complete the UCAS form ie check you have completed each section and added your personal statement ONLY WHEN I have finally said it is OK.
• ·        Finish going to open days and or contacting some to request being shown round.

WORK OVER HALF TERM WASP 2 LEAFLETS

• BELOW IS A LIST OF THINGS MANY OF YOU NEED TO COMPLETE OVER HALF TERM TO PASS THIS UNIT.  

• REMEMBER YOUR UNIT IS ALL ABOUT TYPE AND IMAGE AND EXPERIMENTAL WAYS OF WORKING WITH THIS ALONGSIDE IMAGES. 

• THIS IS YOUR LAST CHANCE TO RESUBMIT ANY EXTRA WORK FOR THIS UNIT THIS MUST BE COMPLETE AND IN STRAIGHT AFTER HALF TERM FOR RESUBMISSION. YOU ARE STRONGLY ADVISED TO PAY ATTENTION TO THIS 

• EVERYONE NEEDS TO ANNOTATE AND SHOW THE DEVELOPMENT OF THEIR LEAFLET WITH MULTIPLE VERSIONS AND COMMENTS 

 RESEARCH

1.      Collect at least 2 good examples of  leaflets  off Pinterest,  https://www.pinterest.com/antalis/leaflets-booklets/

2.      from shops or off websites such as it’s nice that, etc. These must show wonderful design , not just be any old thing, look hard for cutting edge design. Try to gain a sense of how information is passed on effectively within this format.  Review these.  P1, M1,D1

3.      Look at:

·         Colour

·         Continuity

·         Clarity of message

·         Inventive communication – how is this achieved?

·         Contemporary design

·         Target audience

1. Exactly how do they use typography and signs, symbols and images to communicate messages, atmosphere and define the identity of their product?  What is the  ‘tone’ of the advert?  Is it mysterious, humorous, feel good etc.
2. Annotate by the side of your images so it is clear why and what you think about these ideas.
3. What target audience do you think these designs are trying to appeal to?
4. How successful do you think these design solutions are at selling the product or getting information over?
5. Can you find any further information/background on the ideas behind this advert that helps to explain the success or analysis of this.  Answer in approx 500 words. 

4.      Look at the work of  David Carson , Jan Sagmeister and Kyle Bean .  Give information on these  typographers.    who have demonstrated expressive type within their work and who have a website or information detailing their work process. Describe their work.   Be specific, mention their materials, techniques, layout, drawing, use of photography etc..  P1, M1,D1

1. What makes their use of typography individual and expressive?  How is this different to other more traditional typographers?

 How do you feel they combine text and image together?  What exactly is it within their use of media, layout, use of symbol, sign etc. that engages the audience? What do you find engaging /different within their work? 

3. What materials do they use and can you describe how they use layout, position of text.

4. How does the position of word and image work exactly within the design?  What kind of feel does the design communicate? ie  moody, sinister, delicate etc,     

5.  What technology or facilities have they used to make impact on us? How do think they produce their imagery?
6. Fnd out how long do they spend on their work?  Find out about their work and discuss their working process.  800 words
7. Produce 1 response per designer- ( 3 in all)

EVALUATION

Describe the process you have gone through within your project.  How has it developed from beginning to end..  Evaluations need to be integrated with images to explain ideas and should be at least 850 words long.  Please check for spelling and grammar.  P2,M2,D2 , P3,M2,D3

Discuss the place of mind-mapping and working to your slogans?  Explain your procedure for this project,  How did this shape or create ideas?

1. What leaflets or designers’ work have influenced your ideas for this project? What effects have you noticed about their work that have influenced your ideas?  Who has influenced your work and why? Please be specific in your answers?

2. Explain the relationship between words and images you have used within your leaflet.  What did you intend and how successful do you feel  your final outcome is? 

3. Please explain indepth what connections your leaflet has with the wasp.  What signs or symbols, colours or forms have you utilised within this leaflet? 
4. Having analysed your advertisments, what key elements do you feel are essential in the making of successful adverts?  Be specific quoting examples.

6. What parts of this project have shown off your skills at being independent? Things such as using practitioner’s work as a starting point and working in similar ways or working independently within photo-shoots, resolving leaflet design and refining techniques. 

How did you:

·         plan for your photoshoots

·         Take effective shots

·         Develop/edit these for use within your leaflet?

·         Discuss the above with reference to the processes involved within each of these stages with reference to storyboards, equipment, lighting, location, styling and use of photoshop to modify imagery.

7. What part has photoshop  played in the building of this leaflet/Ad? What difference has this made to your work with reference to layouts, making a sequence of images or refining your hand rendered efforts. Have you used scanners, layering within your designs or other techniques?  How have you combined hand-rendered and digital processes  together? How have you used any other technical media such as soundtrack with your idea? Can you produce and explain screen shots of some of your efforts .What do you think are the limitations of the computer in this design process?

8.       What elements could you have changed or modified to increase the success of  text and  imagery?

9. What tone is suggested within your leaflet and what message have you tried to bring out within your leaflet?
10. How do your layouts and  mock ups differ? What is the point of producing mock ups?  Is it placement or composition  . How does your work flow sequentially across the leaflet?  What message is there within these pieces and what type of effects are they summing up?

11. What devices have you introduced to capture our interest and retain a continuity within your leaflet?

12. How have you reviewed and modified your efforts as you progressed?   How did you manipulate images?  Was there one particular practitioner who has helped establish a way of working for this project? 

13. Do you think it displays the effort and the time you have put in and what problems have you encountered?

14. In what ways do these pieces reflect good design?  How have images or typography been used to communicate messages about the product or to an audience?  How does it communicate  – a mood, feel, gender, luxury feel, middle range etc? 

15. How do you feel you have coped with the differing stages of the project?  - Research, development and resolution.  Explains your achievements within each stage.

REMINDERS UCAS/PHOTO SESSION/HANDING WASP 2 IN

REMINDERS:

• Wasp 2 must be submitted by 4.30 pm today please to be assessed. Try very hard to get this as complete as possible for marking. 

• Tomorrow 10.25 am UCAS lesson with Kim Small, IT room

• Wednesday 8.50 am Photo lesson over with Amanda , bring an SD card. 

•  Please bring in cameras and Spinning tops asap for photography and drawing, we have a very short week.  

WEEK 2 LEAFLET HOMEWORK WEEK 2 AND LINK TO PROJECT BRIEF ON MOODLE

GRAPHICS/ILLUSTRATION

http://moodle.altoncollege.ac.uk/mod/resource/view.php?id=98928

Project brief for wasp leaflet on moodle, paste it in your browser and it should take you straight there.   You need to follow this in conjunction with homeworks to pass. 

HOMEWORK WASP 2 for 13 October Week 2 

·        TYPE EXPERIMENTATION WITH SLOGAN AND COMPANY WASP

•         At least 3 found object type experimentation appropriate to theme, ie using specs to write slogan and writing   wasp 
•         Produce an alphabet of letters using a found material/object appropriate to your theme.
•         writing with masking tape and charcoal type
•         using Haynes to write writing with DNA symbols, double helix’s diagrams of molecular modelling,
•         flowing liquids, pipettes of food colouring on paper, or in water.
•         using magazines to cut objects to become text ie photomontage lettering
•         2 other techniques appropriate to your concept.  Show extensive experimenting with slogans and images related to your advert idea.
•         letterpunch on photos, brass shim
•         2  mixed media pieces that contain stamps/ insulation tape etc of fabrics etc collage

TRANSLATIONS FROM PHOTOS

·        Having taken your photos, use your photographs to translate from experimentally using : 
·        2 sustained drawings pencil, pen etc
·        3 Food colouring and Bleach
·        2 Collage and or photomontage
·        2 sustained Carbon
·        This can be your product, people and or other things from your photoshoot.
·        5 compositions  combining in experimental ways :
selected photos, wasp imagery continuing successful techniques in wasp 1 and developing ideas for leaflet.

·        Another photo-shoot of 10 shots that is more specific to your idea.  This should feed into the above.  If your imagery is limited for the first photoshoot then this is essential.   It is very likely that you will need to produce further imagery for your work. This may be photos of other characters or objects within your leaflet.