ByGeorgia Brown 8882983 Kelvin O’Shea 8838691Matt Keliher 5036453

Teamwork assignment for KIB 120 Graphic Design 2014Teamwork assignment for KIB 120 Graphic Design 2014

ByGeorgia Brown 8882983 Kelvin O’Shea 8838691Matt Keliher 5036453

https://www.youtube.com/watch?v=ewVO3fv1DSQ&feature=youtu.be

Teamwork Certification

Exhibition Layout

Matt Kelihergeorgia brown

Exhibition space will allow for the posters to be hung from the various utilities above the space in a creative manner.

This will be determined by positioning on the day. For the 3 poster configuration a corner will work best with the book presented under the centre poster & the central point of focus for the arrangement.

kelvin o'shea

C R E A T I V E I N D U S T R I E S F A C U L T Y | F I R S T Y E A R A C A D E M I C S K I L L S

Awarded to:

Certificate of completion

Date:

Kelvin O'Shea

Teamwork Module

October 25, 2014

Kelvin O’Shea

sample of Pam Langdon’s work

ReflectionThe Shadow of the Wind was initially selected as our book to redesign due to our immediate interest in the book concept and plot. The visual language of the book was strong, detailed and poetic, naturally giving hand to compelling visual design concepts.

Books are often described in The Shadow of the Wind as a part of a human soul with emotions, memories and personalities. These depictions, as if books were living beings, was at the heart of our design inspiration. These enigmatic descriptions inspirited us to seek out old novels, weathered paperbacks and yellowing pages. Due to the age, textures and colours present in older books we felt they intimately connected to the idea of a books ‘soul’ and ‘memory.’ As the book is set in post-war Barcelona, we chose to explore 1930’s Spanish graphic design as we believed this would create an interesting link between book plot and visual creation. Upon research, we were immediately drawn to the colour palettes, bold imagery and typography used within the era. However, it was made clear early in design discussions that we wished to readapt the 30’s style and represent in our own manner to realise a hybrid design of both old and new. A vision board helped further create and narrow our design concepts, lending hand to our ultimate redesign and adaptation of design styles. We made it an aim to create ‘an artistic not realistic design.’ We felt this was an appropriate choice based upon the pre-existing book cover designs for Shadow of the Wind. Most designs incorporated a lamp post and a cloaked, shadowed figure. To ensure our design was fresh, innovative and creative we strived to achieve a more abstract look and feel.In review by Rebecca Ascher-Walsh, Shadow of the Wind was described thusly, “While managing to hit just about every genre, The Shadow of the Wind is ultimately a love letter to literature, intended for readers as passionate about storytelling as its young hero.” From this, it was identified that the target audience for our book redesign and promotional posters would be for ‘book lovers’. Due to the breath of the book genre and audiences we made the conscious decision to leave our design wide enough to entice a broad demographic. This was done through a neutral colour palette, and simplistic, imaginative design.

The book cover was originally inspired by paper art. We felt this would have strong connotations with the book identity. Paper artists such as, Peter Callesen, Rogan Brown, Pam Langdon and Matthew Picton particularly influenced our design concept. Pam Langdon was an artist that connected strongly with our design ideals, commenting “Books that were once central for our desirefor knowledge are now defunct, unwanted and unloved. A passionate collector of found objects, I reconstruct and re-contextualizeold encyclopaedia’s and books, giving them renewed life… Intricate folding and rolling of their pages forms spirals symbolising movement and energy and reflecting growth patterns in nature.

Casting shadows of their previous lives, they are cut and bound and metamorphosed into precious specimens. The labyrinth of folds and curls

ReflectionThe Shadow of the Wind was initially selected as our book to redesign due to our immediate interest in the book concept and plot. The visual language of the book was strong, detailed and poetic, naturally giving hand to compelling visual design concepts.

Books are often described in The Shadow of the Wind as a part of a human soul with emotions, memories and personalities. These depictions, as if books were living beings, was at the heart of our design inspiration. These enigmatic descriptions inspirited us to seek out old novels, weathered paperbacks and yellowing pages. Due to the age, textures and colours present in older books we felt they intimately connected to the idea of a books ‘soul’ and ‘memory.’ As the book is set in post-war Barcelona, we chose to explore 1930’s Spanish graphic design as we believed this would create an interesting link between book plot and visual creation. Upon research, we were immediately drawn to the colour palettes, bold imagery and typography used within the era. However, it was made clear early in design discussions that we wished to readapt the 30’s style and represent in our own manner to realise a hybrid design of both old and new. A vision board helped further create and narrow our design concepts, lending hand to our ultimate redesign and adaptation of design styles. We made it an aim to create ‘an artistic not realistic design.’ We felt this was an appropriate choice based upon the pre-existing book cover designs for Shadow of the Wind. Most designs incorporated a lamp post and a cloaked, shadowed figure. To ensure our design was fresh, innovative and creative we strived to achieve a more abstract look and feel.In review by Rebecca Ascher-Walsh, Shadow of the Wind was described thusly, “While managing to hit just about every genre, The Shadow of the Wind is ultimately a love letter to literature, intended for readers as passionate about storytelling as its young hero.” From this, it was identified that the target audience for our book redesign and promotional posters would be for ‘book lovers’. Due to the breath of the book genre and audiences we made the conscious decision to leave our design wide enough to entice a broad demographic. This was done through a neutral colour palette, and simplistic, imaginative design.

The book cover was originally inspired by paper art. We felt this would have strong connotations with the book identity. Paper artists such as, Peter Callesen, Rogan Brown, Pam Langdon and Matthew Picton particularly influenced our design concept. Pam Langdon was an artist that connected strongly with our design ideals, commenting “Books that were once central for our desirefor knowledge are now defunct, unwanted and unloved. A passionate collector of found objects, I reconstruct and re-contextualizeold encyclopaedia’s and books, giving them renewed life… Intricate folding and rolling of their pages forms spirals symbolising movement and energy and reflecting growth patterns in nature.

Casting shadows of their previous lives, they are cut and bound and metamorphosed into precious specimens. The labyrinth of folds and curls

entices the reader for closer inspection of their mysterious new life.The angel holding a book is representative of the ‘Cemetery of Forgotten Books’- an element in The Shadow of the Wind. Her body is made from old novel paper, manipulated, curved and layered upon one another. Giving body, curvature and life to paper aimed to follow the idea of a book as a ‘being’.

The posters spent a lot of time in the ‘vision stages’. We constantly played with new ideas, concepts and layouts – this included use of quotes, a chapter from the book and the representation of a character. Though many of these were strong designs we hadn’t found something that would match our design ideals of fluidness, simplicity and uniqueness. The inspiration point for out final poster design choice was paring back our design to the use of words (harking back to the idea that books have a life and meaning of their own) and a book signifier, the fountain pen.

Kelvin’s mock-up of two faces made entirely out of words and a dividing fountain pen encapsulated all these elements. We then drew from this and created, two accompanying posters. Georgia’s highlighted the character of Penelope and her romantic presence in the book while Matt’s explored the more sinister character of, Lain Coubair.

Translucent paper was raised as an idea for our poster paper – a material we felt would look extraordinary for exhibition and provide a ‘mysterious’ element to our designs we were keen to incorporate. Unfortunately, through quotes and conversations with printing companies, this process proved to be a complicated, timely and costly endeavour. The allocation of roles was influenced by our own preferences and areas of interest. Kelvin, with a background and interest in film-making, was allocated the creation of the process video. Matt, having a background and knowledge in printing and book-binding, he led many of the steps in the printing and paper/texture decisions for our design. Georgia, more inclined to visual design, and inspired by the use of paper art, took on the book cover process. Though we had our designated tasks, these were all undertaken as a team with constant review, input and reconstruction of design. Compiling all the separate elements from the design process was a challenging task as we wished to maintain our attention to detail and consistency of design. This process focused primarily on design composition and fluidity between both posters, book and presentation. With a lengthier amount of time and greater access to facilities and funds there is elements we would have like to extend on – such as paper materials, detail of paper art and book coverings. Despite this, we believe we have created a visually compelling, exciting and beautiful design that poetically reflects the books intentions. The focus on words in our posters, the layering of paper and paper imagery and the colour palette similar to that of an old novel (with subtle likeness to post-war Barcelona graphic design) creates a unique and imaginative creation.

REFERENCESLangon Pam [PamLangdon] .2012. Flickr, Accessed 15th October 2014, https://www.flickr.com/people/pam_langdon/

Ascher-Walsh, Rebecca. 2004. “The Shadow Of The Wind.” Accessed 20th October 2014, http://www.ew.com/ew/article/0,,609551,00.html

entices the reader for closer inspection of their mysterious new life.The angel holding a book is representative of the ‘Cemetery of Forgotten Books’- an element in The Shadow of the Wind. Her body is made from old novel paper, manipulated, curved and layered upon one another. Giving body, curvature and life to paper aimed to follow the idea of a book as a ‘being’.

The posters spent a lot of time in the ‘vision stages’. We constantly played with new ideas, concepts and layouts – this included use of quotes, a chapter from the book and the representation of a character. Though many of these were strong designs we hadn’t found something that would match our design ideals of fluidness, simplicity and uniqueness. The inspiration point for out final poster design choice was paring back our design to the use of words (harking back to the idea that books have a life and meaning of their own) and a book signifier, the fountain pen.

Kelvin’s mock-up of two faces made entirely out of words and a dividing fountain pen encapsulated all these elements. We then drew from this and created, two accompanying posters. Georgia’s highlighted the character of Penelope and her romantic presence in the book while Matt’s explored the more sinister character of, Lain Coubair.

Translucent paper was raised as an idea for our poster paper – a material we felt would look extraordinary for exhibition and provide a ‘mysterious’ element to our designs we were keen to incorporate. Unfortunately, through quotes and conversations with printing companies, this process proved to be a complicated, timely and costly endeavour. The allocation of roles was influenced by our own preferences and areas of interest. Kelvin, with a background and interest in film-making, was allocated the creation of the process video. Matt, having a background and knowledge in printing and book-binding, he led many of the steps in the printing and paper/texture decisions for our design. Georgia, more inclined to visual design, and inspired by the use of paper art, took on the book cover process. Though we had our designated tasks, these were all undertaken as a team with constant review, input and reconstruction of design. Compiling all the separate elements from the design process was a challenging task as we wished to maintain our attention to detail and consistency of design. This process focused primarily on design composition and fluidity between both posters, book and presentation. With a lengthier amount of time and greater access to facilities and funds there is elements we would have like to extend on – such as paper materials, detail of paper art and book coverings. Despite this, we believe we have created a visually compelling, exciting and beautiful design that poetically reflects the books intentions. The focus on words in our posters, the layering of paper and paper imagery and the colour palette similar to that of an old novel (with subtle likeness to post-war Barcelona graphic design) creates a unique and imaginative creation.

The Book

Matt Keliher 5036453

georgia brown 8882983

kelvin o'shea 8838691

The Exhibit