Tuesday, September 29, 2009

VISUAL LANGUAGE: Project 2; Modes of Appeal, Pathos & Logos Concept Thumbs

Below are my concept roughs for my redesign based on A.M. Cassandre's "L'Atlantique" Ocean Liner poster design. His design portrayed Ethos or ethical appeal, and my goal with my concept roughs was to portray Pathos and Logos; emotional and logical appeal.

Pathos:




Logos:



NARRATIVE: Project 2: Kenetic Type; Final Storyboard & Progress

Here is the progress I am making on my final type animation storyboard as well as the finished product, however, I am planning on taking a better photograph in studio. Enjoy!







Monday, September 28, 2009

VISUAL LANGUAGE: F+S Modes of Appeal


ETHOS
This poster design conveys an ethical appeal because of the image of the Soviet Union flag, it instills authority, credibility, and trust. It demonstrated these things because it is a symbol of the country and government.




LOGOS
This travel poster has a logical appeal due to the display of the map/diagram. Showing the routes by sea as well as land. The idea is very clear and factual.


PATHOS
An emotional appeal is present in this piece with the idea of memories and sentiment. The author is conveying to the viewer, the adventure of National Parks and the memories that can be made there.

Saturday, September 26, 2009

TYPOGRAPHY 3: Project 2; Visible Language, A New Direction

Here is a look at my new approach, just the beginning to there will be more to come, enjoy!


Friday, September 25, 2009

NARRATIVE: Project 2; Kenetic Type, Noun/Verb & POV Animation

Here are my 3 storyboards that combine each of my 3 verbs with my POV animation frames from project 1. I realized after completion of this phase of the project that we were to integrate all 3 verbs in to each storyboard, so I am planning on revising those and posting my progress and I work towards a final idea for animating my very and POV as one.


Marker/Render (above)


Marker/Trace (above)


Marker/Ink (above)

Tyler and I spoke during class and decided that there needs to be more distinction between my verbs ink and render. We came to the conclusion that render is a preliminary/rough sketch and ink is more of a final, cleaner touch. So one possibility for my revised storyboards is the idea of integrating all three verbs together into once continuous animation that would start out with the letters being rendered, then traced or outline, and then being inked or filled. More progress to come...

TYPOGRAPHY 3: Project 2; Visible Language, Initial Progress

Below are the first couple iterations of the poems as well as a start to my contents page. But after meeting with Kidwell on Wednesday I am going to take a completely different approach and focus more on the idea of fragmentation, scale, and weight. I will post more progress on those asap.







VISUAL LANGUAGE: Project 2: Modes of Appeal; Historical Design Research



(A.M. Cassandre, 1931)
Poster for the ocean liner L'Atlantique,1931. The ship is constructed on a rectangle, echoing the poster's rectangular edges. (Megg's History of Graphic Design 4th Ed., pg. 283)

A.M. Cassandre was born in Charkov, Ukraine, in 1901 as Adolphe Jean Édouard-Marie Mouron. He used the pseudonym A.M. Cassandre as a painter, graphic designer, poster artist and stage designer from 1923. A.M. Cassandre lived in Paris from 1915 in Paris. He studied painting at the École des Beaux-Arts and the Académie Julian, working as a student for a while at the Hachard & Co. press. A.M. Cassandre made a name for himself as a poster artist, designing hundreds of posters in a bold, stringently geometric Art déco style. A.M. Cassandre designed posters for the Paris furniture store Au Bûcheron (1923), for the apéritif Pivolo (1924), the paper "L'Intransigeant" (1925), Pernod (1934), the Compagnie des Chemins de Fer du Nord, and several steamship passenger lines. A.M. Cassandre's posters are notable primarily for the emphasis placed on typography. Over the years A.M. Cassandre developed the following typefaces: Bifur (1929), Acier (1930), Acier noir (1936), and Cassandre (1968). Together with Charles Loupot and Maurice Moyrand, A.M. Cassandre founded the advertizing studio Alliance Graphique Internationale in 1930, which only existed until 1934. From 1934 A.M. Cassandre taught at the École des Arts Décoratifs and even ran an art school of his own for a while. From 1936 to 1939 A.M.Cassandre lived in New York, where he freelanced as a commercial artist. His most important works in New York were the cover designs he did for the fashion magazine Harper's Bazaar. In 1939 A.M. Cassandre returned to Paris, where he now also worked as a stage designer and returned to painting. In 1963 A.M. Cassandre designed Yves Saint Laurent's monogram.

Biographical information courtesy of: http://www.cassandre-works.com/


Mode of Appeal:

This piece is appealing not only due to its simplicity, abstract, and streamlined nature, but also because of its appeal to ethical character or Ethos. Through the visual exaggeration of scale of the ocean liner in comparison to the tug boat exemplifies the building of character and trust with the viewer. The grand image of the ocean liner also shows authority and further represents the monolithic qualities (solid/unbroken hull) and is seen as strong, safe, and reliable.

These other works by Cassandre also establish the grand, strong nature of the ocean liners:


 

NARRATIVE: Project 2: Kenetic Type; Initial Progress

Below is the brainstorm/word-list I came up with for the nouns that applied to my animation sequence in project 1, they are also expanded with actions (verbs).

My final 2 nouns were: "Hand" and "Sharpie Marker"

My final 3 verbs were: Create, Sketch, Outline (for Hand), and Ink, Render, Trace (for Sharpie Marker)



After developing initial thumbs (posted in my previous blog) I selected one noun (Sharpie Marker) and came up with 5 more ideas for each action (verb) as well as 5 frame storyboards for each thumbnail.


"Ink" Thumbs/Storyboards:

Thumbnails for "Ink" (above)

 
top: Ink spill; bottom: Ink fill (above)



top: Ink fill (process); bottom: Ink formed letters(above)


top: Ink marker strokes; bottom: Ink drops (above)


top: Hand-written strokes; bottom: Ink spill II (above)


top: "Ink" filled letters; bottom: Ink lines (above)

"Render" Thumbs/Storyboards:
 
Thumbnails for "Render" (above)



top: Thick marker stroke reveal; bottom: Rough line work (above)



top: Markers spelling "render"; bottom: Render process (above) 



top: Broad marker strokes; bottom: Line by line rendering (above) 



top: Thick strokes-cropped; bottom: 3-D rendering (above) 



top: Line fill; bottom: Cross hatch (above) 

"Trace" Thumbs/Storyboards:

 
Thumbnails for "Trace" (above)



 top: Stencil; bottom: Tracing paper (above)



top: Trace outline; bottom: Light table (above) 



top: Illuminated (light table); bottom: Literal trace/outline (above)



top: Trace block letters; bottom: Tracing paper overlays(above) 



top: Tracing paper overlays II; bottom: "Tracing" footprints (above) 

Monday, September 21, 2009

VISUAL LANGUAGE: Final Rhetoric Poster

Here is my final product for the Folly Jazz Series; Ken Peplowski's Benny Goodman Celebration.



Final Statement:
The rhetorical trope displayed in my concepts is a visual metaphor, in the sense that the torn music notes taped on to an existing musical score represent improvisation. My poster design also portrays hyperbole due to the fact that tearing out and taping music notes on to a score is not the actual magic behind improvisation, it is simply an exaggeration for visual purposes.