Escolar Documentos
Profissional Documentos
Cultura Documentos
For this summer project I collected a large body of work that i believed reflected my towns character.
This included photographs and video that I eventually fused together in the form a flash animation .
Home town I then went about making sets and characters from the photos in photoshop that could be used to create
my animation. The animation was intended to bring to life parts of my home town that only I know about
and remember, parts that no one can else would appreciate. Parts that are special to me.
Home town
Photo Intro Here we were asked to produce 36 photos of one space, for which i chose my bed room.
of one object and 6 of one spot. Here are my favorite shots from the collection.
Visual Thinking 2 Notatinal Drawing -This was part two of visual thinking where we visited the science museum
in central london. The images on the next few pages are a select few from the 100 or so in my
the form and shape of one lone letter M from a specific typeface.
Visual Thinking 3
Visual Thinking 3
Visual Thinking 4
Visual Thinking 4
Visual Thinking 5 Shoot London - These photographs were taken all in one designated street in Camden town.
I created this body of work entirely by ‘shooting from the hip’. So no view finder was used giving
illustrated on these pages created this water powered painting machine. (Diagrams
object. I chose to make a collection of stains, stains that can be found everywhere and by everyone. I wanted to create a
body of work that celebrated their beauty in a way that would allow everyone to access and appreciate it. I decided to make
a set of brushes that can be used in many different ways, that allow the user to appreciate the forms, shapes and textures in
a brand new way. The picture above was created entirely from my brushes.
Pocket Archive
These were the very first photographs I took using my phone which provided this
grainy quality to them. This grainy quality actually made them much better brushes.
Pocket Archive
For this project we were asked to create and develop an individual collection of work, based on any chosen theme, item or object. I chose to
make a collection of stains, sta ins that can be found everywhere and by everyone. I wanted to create a body of work that celebrated their
beauty in a way that would allow everyone to access and appreciate it. I decided to make a set of brushes that can be used in many differ-
ent ways, that allow the user to appreciate the forms, shapes and textures in a brand new way.
Pocket Archive
So when do Whiter means
bad stains turn Cleaner
good?
Here are a few examples of how marks and So despite peoples willingness to have t
splatters have been incorporated into modern shirts with paint splatter effects, phones
designs. The T-shirt at the top contains a very with multi coloured crazy cases and website
trendy paint splatter effect that is used all to designs with dirty grunge fonts/ colours,
commonly nowadays, along with the nike the idea stuck in every ones mind is that
trainers below. The tea bag looking dress at white equals clean. I don’t mean clean in an
the bottom is very much at the opposite end aesthetical sense, I mean in a biologically
of the fashion spectrum, with a tea stained cleaner sense. When we look at a stained
baggy look, that certainly won’t be seen in the anything, we assume its dirty, when infact
nearest top shop any time soon. You have to it’s exactly the same but marked differently
wonder why this is though. A tea stain isn’t (unless you fall in poo or somthing),
any more radical that a paint splatter but its
not used in common design at all. The Daz adverts stuck in your head makes
you wants you to wage a war upon any slight
I’m not by any means even saying they blemish until it’s gone. So is it because we,
should be incorporating all manner of stains as analy retentive human beings, cant stand
into design, but when you sit down and think, the site of a random stain? Or is it because
its really quite strange how we perceive we’re scared of how other followers of the
designed marks and stains. Daz philosophy will look at us?
Maybe some people just don’t like art and Maybe its because
would rather live in a clean white utopia where unintentional looking design
there is no colour or clutter, but most do not. has become so normal and
There’s few living rooms that don’t contain at standardized that we can
least one painting or drawing, that’s met with
a feeling of appreciation and wonder. So why
no longer appreciate true
can’t the entire surface of your living room be
unintentional marks in our
appreciated in the same way, and looked at every day lives.
with eyes wide open.
Pocket Archive
Stains are
everywhere and
everything
Brush
Applications 1
Here are a few examples of how the brushes
can be used, obviously certain brushes will
be better for certain styles, but heres a broad
set of uses for my first one.
Above I have
created a line of the
same, with colour
dynamics based on
a red swatch. To the
left I have simply
1
stamped the corner
of the page.
Pocket Archive
So What? Making The
Ok so I!ve collected a load of stains, so what? Brushes
Well I want every one to be able to share
To make the brushes from the photographs
my views and ideas, so I!m going to create a I first need to edit and highlight the aspects
photoshop brush set, containing aspects from I think will make good brushes. So all the
all of my work. things shown here will need to be changed
and fine tuned to create a black and white
highly contrasted template. The template
Ideally I!d like to make a website containing could then be inverted so you could make
all of this information and imagery aswell as two different styles of brush if you want.
the brush set download. I could also make a
free flyer with the brushes on disc, or even This is on of my first attempts :
get a collection of memory sticks containting
the brushes and a short text clip giving some
background information. I just like the idea of
being able to give away the work freely and
easily.
Pocket Archive
This is a colour version of the previous image, so
To create this effect, I!ve used the brushes pallet
again I!ve used shape dynamics, size dynamics
and extreme colour dynamics. I!ve also layered a setting to change the shape dynamics and colour
large white version of the stamp on top to contrast dynamics to quite a high degree, creating this
the crazy colours in the background. grainy rough surface texture.
1 1
Pocket
1 Archive
Pocket Archive
This is another piece I created entirely from my brushes.
This brush would be more suitable for being
placed in and around the middle of designs, as it Believe it or not this is still the same brush but I!ve
used a technique in photoshop that allows you
doesn!t have clearly defined edges like the first
to have two brushes in one. So its got the outline
brush.
of the original brush 2 but the stain inside from
a different brush. This technique could be used
to combine any of the brushed to create 100!s of
possible combination.
2 2
To be honest I didn!t even realize how versatile the
brush options where in photoshop. The posabilities
for their applications are just endless! When I
started making the brushes I was concerned about
how well the brushes that had edges were going
to work apposed to the ones that where just say
black paint splats like brush 2. But now knowing
how well they work in conjunction with each other,
it just doesn!t matter. I think most of the test pieces
I!ve shown so far work well with their own right, as
proper pieces of art.
2
2
Pocket Archive
More!
Pocket Archive
Pocket Archive
Pocket Archive
Pocket Archive For the final realization of my idea, I created a web site containing all of my research and a few examples of possible brush
uses on the front page. Users can also download the brushes from my site and leave comments or post pictures of what
they’ve created. This truly shares my idea with the world in the most efficient and accessible manor.
be orange. We each contributed to this creation after a quick scavinge hunt around uni.
Colour 1
Colour 1
Storyboarding
Storyboarding
Storyboarding
Storyboarding
Storyboarding
Storyboarding
Storyboarding
Storyboarding
Storyboarding
Storyboarding
Storyboarding
Storyboarding
Final Piece Draft
Storyboarding
Final Piece
Storyboarding
Final Piece
Storyboarding
Bookbinding
Bookbinding
Ice Breaker For this group project we created a tetris inspired labeling system. The different coloured tetris stickers were intended to
label different kinds of places (indicated by the cards) allowing newbies to easily spot new interesting places aswell as
share their discoveries with other people. I personally created and edited the tetris cards on the computer aswell as make
ect, the 3 of us more or less worked individually so I ended up creating cups with personalitys
and simple facial styles. The idea was to make the usually boring and uninteresing shape and
colour of the cups actually work with the drawing style, creating cute and collectable objects.
Concepts 1
Concepts 1
Concepts 1
Concepts 1
Concepts 1
Final Pieces
Concepts 2
Aids Day - For this project, after much deliberation we decided to go with the a charity theme based on ‘raising
awareness’ The was intended to be a pun on using balloons to both be sold to raise money and let of into the
sky with messages attached. The messages could be written by the public or just left as we printed them, with
our contact details and information on aids day, our cause and the Terence Higgins Trust info. We took a giant
helium canister and hundreds of balloons attached to a trolley around London and raised over a £200.
Concepts 2
Concepts 2
Concepts 3 Sports Day - Our group decided to take quite an untreditional approach to creating a sport. We decided
to imagine what it would be like if strictly come dancing was classed as a sport rather than just a competi-
tion. We then decided it would be hilarious if it was done by puppets and set in the 80’s. So we created a
short tv advert for ‘dancing on string’. (The green puppet was made by me and all video editing).
Concepts 2
Concepts 3
Working Title Ideas
Dont panic
A realists guide to sustainability
Don’t panic
A realists guide to sustainability
Don’t panic
A realists guide to sustainability
D o n ’ t pa n ic
A realists guide to sustainability
Don’t panic
A realists guide to sustainability
To me the content of this manifesto was more important than the format. I personally hate the usual preachy rubbish that’s
Manifesto
forced down our throat in every free leaflet we get through our letter box’s and that most people decided to recycle in their
manifestos. I also think most people don’t give a toss about what the government ‘thinks’ people should do so I created this
manifesto to be the polar opposite of the usual eco friendly guides. The people that disagree with me will read it and hopefully
be more inspired by my lack of concern. The people that truly don’t believe in global warming mite just be happy about being
spoken to like a person rather than some kind of gas gargling monster and consider the subtly hinted points in the manifesto.
Don’t panic
A realists guide to sustainability
Don’t panic
A realists guide to sustainability
Dont panic
A realists guide to sustainability
Don't panic
A realists guide to sustainability
Manifesto
Type developmeant.
Type Face Combination Ideas
Don’t Panic
The world is not about to blow up and despite what the alarmists around
Don’t Panic
you mite preach, you alone will never change the world. So thinking The world is not about to blow up and despite what the alarmists around
that your actually going to make a difference is your biggest down- you mite preach, you alone will never change the world. So thinking that
fall. Knowing that you tried is what’s important and anything that y o u r a c t u a l l y g o i n g t o m a k e a d i ff e r e n c e i s y o u r b i g g e s t d o w n f a l l . K n o w -
comes from it is a bonus so don’t be pushed around into doing anything ing that you tried is what’s important and anything that comes from it is
simply for the benefit of the earth, as you’ll probably lose interest a bonus so don’t be pushed around into doing anything simply for the
eventually. Find your own reasons for changing any aspect of your life b e n e f i t o f t h e e a r t h , a s y o u ’ l l p r o b a b l y l o s e i n t e r e s t e v e n t u a l l y. F i n d y o u r
and make it suite you. own reasons for changing any aspect of your life and make it suite you.
Don’t Panic
The world is not about to blow up and despite what the alarm-
Don’t Panic
ists around you mite preach, you alone will never change the
world. So thinking that your actually going to make a differ-
The world is not about to blow up and despite what the alarmists around
ence is your biggest downfall. Knowing that you tried is what’s
you mite preach, you alone will never change the world. So thinking
important and anything that comes from it is a bonus so don’t
that your actually going to make a difference is your biggest down-
be pushed around into doing anything simply for the benefit of
fall. Knowing that you tried is what’s iVmportant and anything that
t h e e a r t h , a s y o u ’ l l p r o b a b l y l o s e i n t e r e s t e v e n t u a l l y. F i n d y o u r
comes from it is a bonus so don’t be pushed around into doing anything
own reasons for changing any aspect of your life and make it
simply for the benefit of the earth, as you’ll probably lose interest
suite you.
eventually. Find your own reasons for changing any aspect of your life
and make it suite you.
Manifesto
Manifesto
Manifesto
Manifesto
Photography 1
This project was intended to explore interface through the use of
colour. I decided to look at signs as they are the most clear and
Photography 1
Photography 2
This project was an exploration of portraits in the form of facial
pages time.
Photography 2
Photography 2
How do we define the faces of people we’ve known for years or
months, people who’s faces we have gazed upon countless times? Do
we define them by the features or by their nature?
We define an unknown person by their appearance but a familiar per-
son by our relationship with them, this is when the subtle haze begins
to fall upon those around us, which blurs features or extenuates them
in our minds. What we consciously once saw we now subconsciously
forget.
This probably happens in relationships most obviously, once a couple
has been together for a long period of time, there attraction becomes
absolute. The bed hair and lack of makeup that may have warn you
away on a first encounter is now normal and acceptable. Some would
say this is simply down to loving a person for who they are but others
argue that it’s more down to the way we process faces.
When you meet a stranger your brain goes in to overdrive, looking
for discernable features and aspects to help you remember and anal-
yse them. If we did this every single time we met a person, we would
never be able to recognise them, so we base new encounters on what
we have already seen. Like a portrait that is constantly being worked
on, we add to and change the image of some one in our minds until it
is complete. Upon completion the painting is shipped of to a gallery, as
is the face of a person to our long-term memory. So once the image
has left our short-term memory it is not normally edited again, simply
referred to subconsciously to recognise someone at first glance.
We never look at someone in the same way as we do upon our first
encounters ever again so we indulge upon our perceptions of some-
one to allow ourselves to move on from shallow thoughts and feelings.
My question is how do the faces in our heads get put together? We
tend to remember both an overall view of some one as well as tiny
little details that only after many encounters can you learn to appreci-
ate. It can’t simply be one face suspended in our memory, it must be
collective view of texture, colour, shape, shadow, touch and many
other facial aspects.
Through photographs I want to look at how I can represent the faces
from my mind on paper and incorporate aspects that are important to
me. I also want to show how you actually perceive the world around
you in relationship to faces. A photo could record the face of every-
one upon a street, but a person’s memory can store only fragmented
details.
Just trying to picture how someone looks in your mind is quite difficult.
Remembering certain times you have seen them is easy, like a dream
you can picture certain aspects, but it’s always hazy. I’m sure every-
one has had a dream where they know someone is there, but they
cant actually see their face clearly. This is again all down to memory’s
being built up over time to give you a very 4D look at something
or someone. You can remember how they feel, look, taste, sound
throughout the time you’ve known them. This is not the kind of thing
you can easily represent in a two-dimensional form, either in your
head or on paper. I however would at least like to give it a go.
How might the data be stored in our brains? Would it be in the form
of light-waves that we store and recreate in our minds to form an im-
age? Or in the form of code and binary, where we could have a sort of
organic pixel map of what we once saw?
Photography 2
Photography 2
Photography 2 Here are very small selection of the 1000 or so faces that I cut out from
faces. The frame rate is extremely fast giving you barely any time to
Photography 2
make out any discernible features. I went on to add filters and mu-
sic as you can see on the final movie on the next page. The filters
added to the effect and created a more hypnotic fast moving video
that blured the lines between seeing a face and recognising one.
Final Movie
Photography 2
Self Initiated Project
For this self directed project I used my photography 2 work as a starting point and
on age but ended up coming full circle and again used faces from my past photos to
Hello
:)
Yellow
Hello anger
Blue
please go die
Self Initiated Project These were some early experiments using colour to alter the
Blue
Yellow
Red
Ag R
Individual letters make words and words make up sentences (or lines)
and lines make up paragraphs. Paragraphs make up columns of text and
columns of text make up pages. When handling type we are dealing with
pre-designed forms. Only very few experienced typographers take the
time and considerable effort to design new typefaces. Over the years
many thousands of typefaces have been designed, so the choice is quite
enormous.
When we look at individual typefaces we can see that they each have their
own particular characteristics and ‘personality’. If we examine each of the
26 letters of the alphabet, we can see that the form and structure of that
letter has a special relationship with the background on which it sits. Not
only does the shape of the letter itself give it form, but the space around
it accents the individuality. When two or more letters are put together
they create words which are recognised as complete shapes, rather than
a collection of individually recognisable letters. Typeset words create for
us a visual presentation of our language and, as with inflection of speech,
we can modify greatly the meaning of each word or texts by our choice of
typeface.
Desender Line
X - Height line
Type can look bold, light, thin, fat, warm, cold, aggressive, passive, quiet,
lyrical, sad, happy and represent virtually all the human emotions. We
can call upon the qualities of a wide range of type styles to help us covey
information in the most effective or desirable way. Choice of different
typestyles enable us to change emphasis and can help to devise a
Bowl
Serif
Reading is a chore and it is the typographer’s art and skill that alleviates
that chore by creating effective typographic signposting systems to help
Capital Line
the reader. Since we accept that words were written to convey information
Base Line
Link
Ear
Expressive Letterforms
Wiz Type Here our group was asked to celebrate the
and cultural events. He also published certain texts in The uppercase has a
educational journals and wrote the book ‘The Development wide proportion, and the
of Script and Type’ all of which have become very useful and terminals not being parallel
highly sought after learning materials worldwide. to the baseline provide a
sense of animation. The
Some of his most famous works were created while he lowercase a and g follow the
worked with Stempel in the late 1960s, creating that most old style model of having
humanist of sanserifs, Syntax, a type whose influence is clear two stories.
in Spiekermann’s Meta and its followers. Syntax is based
on both Renaissance minuscule writing and Roman lapidary The italics are a combination
capitals. The design is a blend of a monoline sans serif with a of humanist italic forms,
more lively humanistic roman, resulting in a highly legible sans seen in the lowercase italic q,
serif type with a wide range of uses, from captions and text to and realist obliques, seen in
packaging and signage. the lowercase italic a, which
retains two stories,
The original drawings were done in 1954; first by writing unlike in other humanist
the letters with a brush, then redrawing their essential linear sans-serif typefaces.
forms, and finally adding balanced amounts of weight to the
skeletons to produce optically monoline letterforms.
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
Wiz Type
This is the final packaging that the whole group