dcbook

Cliquish

Whilst you flick through the pages of this book you will see selected work that has stood out for me. Making me stop, admire and be inspired.

cat e

gor i

se

(Design for)

Film

Literature

Music

Design & it’s context

Branding & Identity

Image & Prints

1

2

3

4

5

6

Film

The layering of type over imagery. Even though the type is large across the page, the image behind it is still accessible.

The purposeful and clever manipulation ofthe type. As the type seems to be in the process of being erased, it works effectively alongside the words “I’m still here”. The manipulation has taken place with the ease of making it also legible.

12

Colours

Centered layout of type

Reflection in image

Image cropped by strip

Typeface

Expressions on Image3

4

I think what is successful with both of these is the layering involved in the imagery. The layering of the photos in Martha Marcy May Marene is beautiful, and gives the poster depth.

Submarine. The blue solid overlaying the mugshot is clean, crisp and meaningful. It takes the word ‘Submarine’, that little further.

56

“I’m starting to notice a trend here. How do you sell an NC-17 film about a sex addict? I have no idea. Which is what makes this poster so impressive. They somehow answered that question. You just let it sell itself. Those who know about the movie will think the striking, lonely image of crumpled bedsheets makes perfect sense, while those who don’t will be intrigued enough to want to know more. Perfect.”

Jeremy The Critic Film Poster critic

78

What I admire about this particular poster, is it’s uniqueness.

The concept is strong aswell, I suppose the story behind the poster is the story within the

film’s plot. This is successfully shown in the snapshot type imagery used, helping express

a type of documentation.

910

Lite

ratu

reThis chapter mainly focuses on magazine covers and book covers. I like how publication covers hold restrictions, and have guidelines that restrict their design, however, the opportunity to be creative is huge. I also feel that versatility is celebrated with publication covers, type and/or image can work applied through numerous design styles.

1112

Brilliant image choice in terms of how it works alongside type. I also like how the title remains in the same place, same size but the colours chosen, contrast the image well enough to have them sit alongside strong imagery.

1314

The consistent logo that sits over the face gives the cover a bit of mystery, and interest. It offers the designer freedom in image choice and how to crop it, but the restrictions give the cover a strong and recognisable brand.

1516

“Magazine covers are like a billboard you’re driving past at 80 miles per hour. If it’s not effective immediately, people move on. “

David Sloan, president of Sloan and Associates Magazine Consultants

1718

Bright colours and type only. Striking image and little type. Both work effectively, if they’re done properly.

1920

2122

Mus

ic

When designing for artwork that would support aspects of the music industry, I feel what I like about producing it, is the ability to do whatever you want, as long as the concept behind it is cleverly thought out and works well with the subject.

2324

Coming up with a concept that is best communicated through a clever, meaningful image. These are two examples where the image is good enough to be enough.

2526

Des

ign

& it

’s co

ntex

t

2728

I always think design is better shown off. You want people to admire it, so where it sits within a situation is very important.

I love how the images stand alone. Their vast size means you can’t help but stare back at them. Also, because of this, there is no need for any fussiness in and around the image itself.

2930

Decorating a space, filling space, using a space.

3132

3334

Bra

ndin

g &

Iden

tity

“An brand is not simply a trademark, a design, a slogan or an easily remembered picture. It is a studiously crafted personality profile of an individual, institution, corporation, product or service.”

Daniel J. Boorstin

3536

I really enjoy sourcing and building a symbolism that relates to something or someone. I prefer simple, crisp and clear designs when it comes to branding and identity. Colour choice and typeface I feel are the most important when making these decisions.

3738

Imag

e &

Prin

ts

3940

Although I like working with image, I feel that purely type or mainly type based can also be really impressive. What I like about these two pieces is the simplisticness of the design itself, but how they are striking, and interesting to look at.

4142

4344

My interest in photography probably drives a lot of my reasonings for wanting to use photography. However, I feel that choosing the right images, and what of the images, is crucial. Image manipulation can also bring more out of the image.

I often like to work alongside photography when designing and developing concepts. I feel it’s a good way to communicate to an audience. I respect both type and image, but sometimes I do think that an image is worth a thousand words.

4546

These two contrast in the sense of their simplicity. The left image has quite a lot going on, yet colour choice and hierarchy clarify it, exposing it as a successful, attractive print.

4748

This image, containing only two layers, still works. The image itself could almost work by itself, however the block text is so plain, the two almost work simultaneously.

Pattern / repetition. I feel work that falls under those two categories supports type comfortably. I like to create patterns, symbols that have a meaning and purpose.

4950

A small exclusive group of something.