we get a set of brief from which we can choose one to ursue.
- we were advised to choose a focus of either print or web but still maintiain consideration for the other.
- think of areas involved in each one.
- there is a greater need for technical understanding to be evidenced from our outcomes.
- it is important to really think about our intended audience.
- think about production methods, costs, stock, relevance to the brief.
- show what a designer needs to do and do something that i want to design for.
from this introduction to the new brief we were asked to go off and look at the briefs offered on estudio and pick three that we thought looked interesting and appropriate we were to consider a bsic idea for each brief, print the briefs off for next session and bring in any propsals.
Your content should demonstrate an understanding of design for print and web, which includes but is not restricted to font selection, colour selection, layouts, usability, content / content management and designing for your audience.
Your finished product should show an understanding of the role of a graphic designer in design for cross media delivery, as well as demonstrating industry standard requirements.
You will need to demonstrate an understanding of:
Your finished product should show an understanding of the role of a graphic designer in design for cross media delivery, as well as demonstrating industry standard requirements.
You will need to demonstrate an understanding of:
- Production Methods.
- Stock considerations
- Colour systems
- Commercial costings
Your content should demonstrate an understanding of the audience, context, functions and uses of Graphic Design within the international graphic design indistries and broader creative industries.
having read the introductions and brief requirements on the pdfs i then started looking through the individual briefs. initially i just looked over them to get a feel of what each one was about/required. then i went over each one in more depth, considering what exactuly it was asking, whether i would enjoy desiging around that topic, what i might design for that topic, and what learning experiences i might take from it. having gained a basic understadning of each brief i then went on to select 5 ones that i thought i might like to do:
- '75rpm - mp3' - this brief is based around the typographic interpretation and representation of songs from the 20th century (2009 brief).
- 'TypeFactory' - this brief is based around the design of visual identity for a type museum (2009 brief).
- 'Channel X' - this brief is based around the design of a visual identity for a new tv channel (2010 brief).
- 'Not Just Felurons' - this brief is based around the typographic interpretation and representation of plants (2011 brief).
- 'Imbalance' - this brief is based around the typographic interpretation and representation of the concept of imbalance as defined by me (2010 brief).
i then revised each of these briefs in more depth paying particular attention to the target audiences and project requirements because these help set the tone for understanding the brief. having critically analysed each one i decided upon the three main brief i thought i would like to work on.
1. 78rpm – mp3 . . .
A celebration of popular song lyrics of the 20th century
The invention of audio-recording media in the late 19th and early 20th centuries, and the development of mass-media entertainment through radio, and eventually television, led to an explosion of creative songwriting that has scarcely abated to this day. From Tin Pan Alley to Abbey Road, from 78rpm to mp3, the lyricist’s art has informed and influenced contemporary culture at every level. Each decade of the 20th century has its share of iconic tunes and charismatic writers and performers – we want you to celebrate their art in typographic form.
The Brief
Investigate the lyrics of at least two songs selected from different decades of the 20th century. Take the opportunity to express the essence and spirit of your chosen songs in a typographic ‘tour de force’. You may wish to compare or contrast, consider period, context, locations, include biographical or historical sub-texts, or simply celebrate the emotions that are aroused by great words.
Think laterally, develop high quality research,
intellectual rigour and well-considered typography. You may wish to consider the juxtaposition of your chosen pieces – do they have anything in common? Do they address similar issues/themes? Are they polar opposites? You decide! The possibilities
are endless . . . .
A screen-based submission could be an interactive piece or an animated sequence – again you are encouraged to be innovative
and exploratory. The use of sound, motion, interaction etc. offer many opportunities in respect of the design, but do bear in mind
that the submission should be typographic in essence and this requires careful consideration.
The challenge is to interpret the lyrics typographically. We would discourage overt
use of imagery (eg photographs of performing artists) and suggest a subtle and sensitive approach to the inclusion of any illustrative content.
A list of artists to start you off: Noel Coward,
Cole Porter, Irving Berlin, Stephen Sondheim, Lorenz Hart, Oscar Hammerstein, Woody Guthrie, Hank Williams, Bob Dylan, Paul McCartney, John Lennon, Marc Bolan, Joe Strummer, Joey Ramone, Madonna, M&M, Oasis, K T Tunstall, The Scissor Sisters, Coldplay, Black-Eyed Peas etc.
Target Market
Design students, discerning designers,
and music enthusiasts.
Requirements
• Research and Development
• Strategy
• Specifications/Grid(s)
• Dummy/Prototype(s)
• Presentation
Cross-reference this project brief with the ‘Assessment Criteria’ sheet.
Submissions will only be accepted
in one robust portfolio no larger than a2.
2. TYPE FACTORY
The Type Factory is a new museum and gallery space being developed in a location of your choice. Offering an exciting resource and experience for designers, school-children and discerning tourists, its mission is simple: it aims
to inform and enthuse its visitors about all aspects of type and to promote all things typographic. The factory will house a range
of artefacts and displays that demonstrate
the history of type and typographic design, while the gallery space will host temporary exhibitions of contemporary type design and typography and offer a venue for talks by some
of the leading advocates of design as well as emerging talent.
The factory will also house a café and book-store which will encourage visitors to meet, share their thoughts and aspirations.
The Brief
Design a visual identity and range of promo-tional materials. You may use Type Factory as
the name or create an alternative.
The identity must capture the essence of the experience that the visitor will have. You should express its use across an appropriate range of applications and show how it will work across media. Rather than specify the uses, we want you to consider the best range of uses – signage, web pages, display panels, ambient media . . . the choice is also an opportunity
for an innovative approach to presentation.
Promotional material for print submissions should include a booklet that will be used
to promote the venue. This should include treatments for cover, venue information page(s) and at least three spreads. Local outdoor advertising requires a poster – at least 4 sheet
size (present a scaled-down version with images
of its use in possible locations).
Screen-based submissions could be a website which would include the identity, appropriate information, examples of promotional events and merchandise and equate with the volume
of print requirements.
Target Market
Designers, school-children, tourists
Requirements
• Research and Development
• Strategy
• Specifications/Grid(s)
• Dummy/Prototype(s)
• Presentation
Cross-reference this project brief with the ‘Assessment Criteria’ sheet.
Submissions will only be accepted
in one robust portfolio no larger
than a2
3.
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