12.11.2009

C.D.F Update

For the last week of Color, Drawing, Form, there were quite a few last minute projects. Calander pages were finished up and printed.


As well as the final construction of our color books
To wrap everything up our color class made a visit to ColorMark were we took a toure of the fasilities and got a chance to see their amazing printers!


12.09.2009

Final Taxonomy

For my Final Taxonomy I decided to carry out the small aspect from my Haiku and create a 3.25" x 2" book. The binding involved rubber-bands that held together the cover page, a Table of Contents, and five chapters. Each chapter contained five spreads, five chapters times five for a total of 25 spreads. Each of the Five chapter were also held together individually with their own ribber-band. Unfortunately I turned in my taxonomy before documenting it as usual, thought i do have pics of the process and some layout shots a well.

Cover and ToC

Chapters 1-3 Front
 
Chapters 4-5 Front/ Chapter Cover
 
Chapters 1-3 Back 

Chapters 4-5 Back


The initial page of the book would have the Toc or table of contents, which would have the five chapters and their titles, Circle, Crescent, Blob, Swirl, and Broken. Each Chapter labeled denotatively, while each mark inside of the book is labeled connotatively on the back side of each symbols page. Though this book may be small I fell it carries itself as well as any regular sized taxonomy just as well.

Final Reflection

UNO.
 From projects 1 and 2 the main components that were carried over into project 3 would have to be "process" and the use of "abstract imagery". I use quotations because the meaning of these words in relation to this project can be seen as several different things. To start, process played a large roll in all three projects, but was fundamentally crucial in project 1. From project 1, as sophomores we gained the knowledge necessary to masterfully iterate our ideas on paper before approaching the problem digitally (Or on the computer). In project 2 we absorbed the basics of juxtaposition and how composition can affect the outcome of an overall graphic image. Both the iterations and compositions of our graphic symbols blossomed from what was a combination of project 1 and 2. Entering the spring semester the major idea i think i will carry with me is to never say your going to do something!!! Do it and see if it works, JUST DO IT see if it work, then decide if it makes the cut or not. Keep and open mind and keep EVERYTHING.

DOS.


This line juxtaposition was one of many that did not make the cut. At the time I believe it was dropped from the line up because it was lame, and I still think it is lame. Visually it is some what interesting and/or pleasing to look at but in terms of a true juxtaposition, it lacks little similarities that could boost the graphic as a whole. Before project 2 I had very little experience with photography and in turn composition was foreign. After the completion of my book I am now able to better make sense of visual components and the relationship that can take place between the two.

Project Evolution

Here are some of the steps that went into creating some of the spreads that went into my taxonomy.

Line 1

Line 2

Line 3


 

 

11.28.2009

C.D.F Update

Here are the colorized versions of the line delineations:

Paul Rand Notes

Paul Rand was a well-known American graphic designer, best known for his corporate logo designs. Rand’s most widely known graphic designs are his corporate brands, many of which are still in use today. IBM, ABC, Cummins Engine, Westinghouse, and UPS, and many others, owe their graphical heritage to him, though UPS recently carried out a controversial update to the classic Rand design.

The Paul Rand video made use of all the transitions used in our project:
Transparency
Zoom
Pan
Wipe
Morph

As for Rands theories on graphic design I would have to agree with everything he said. Most corporate insignias today are mainly used to draw in people. In order to do this designers have to go with whats popular at that time. Designs have to go with the times, or break so far from whats popular in order to create something so different it creates a new fad. Thats the life of a designer, your either really good at whats wanted, or your really good at making what you want. Either way, I think no matter what path a person follows as long as a person has pride in their work fortune will follow.

11.26.2009

Viscom Animation Round Uno

Here is my progress on my animation for visual communitatipon. Vimeo is taking its sweet time uploading my video so i can do for right now is paste the url for when it is done.

Viscom Ani Round 1 from Raynaldo Alvarez on Vimeo.


Aside from not having music yet, I am pretty content with how its coming along. For some unknown reason after I exported my flash as a .MOV, each object likes to leave behind a ghost of itself. So after a while the screen starts to get a little crazy. Why this is happening Im not sure, but im still trouble shooting.

11.18.2009

Text and Image Compositions

Final three Image and Text compositions that I have chosen for my Flash animation.



F+S Project 3



This illustration was made as part of a series for the Nike Tennis campaign. The combination of ink splatters help create a sense of movement and direction. Showing the tennis players path that was taken after making impact with the ball. I would say its safe to assume the process in creating these marks cant be too different from that of our process in studio.... Also look at that pretty NYC Nike logo, pretty right?

11.17.2009

Reading Response: Time and motion

When an object moves, it moves in both time and space. Movement can be created in an optical illusion, or in an animation. As designers we work with both motion and 2-D graphics, like vectors and bitmaps, to create a viable design. An animation for example, begins with the creation of storyboards, much like the ones we are currently creating in class. All important moments of the animation are documented and planned ahead, before creating the final product. Animators must think ahead, all of the variables are important when creating a fluid movement or animation.

Color, depth, position, rotation, scale, shape, and transparency are all components of an animation that can be changed, and it is a combination of these components that create a successful flow of motion.

Bitmap vs. Vector

Bitmap

Pros: Bitmap images are among the most commonly use formats mainly for their flexibility with manipulation. Constructed of many different colored pixels, bitmaps can be easily changed or altered.

Cons: When it comes to bitmaps resizing becomes an issue. The down sizing of a bitmap doesn't cause much damage. Though when scaled lager than its original format, bitmaps start to loose quality and quickly become pixelated.

Vector

Pros: Over all vector images are better quality. Vectors are made up of lines, curves, and angles that can individually be manipulated. Unlike its counter part, Vectors can be scaled in any direction and still retain 100% of its quality. (dependent on its resolution of coarse) When compared to a bitmap vector is simply a more complex format.

Cons: Vectoring does not hold tonal qualities. Unlike Bitmap, vector creates sold areas of hue. Meaning vectors can never have the same qualities a photograph and or bitmap can achieve.

11.15.2009

C.D.F Update

This week color, drawing, and form was mostly about book photos and color arrangements. First and foremost my color book. Each one of these photos has a color arrangement attached to each one , though at the moment i have seem to misplaced my sheet, so for now just photos.   (uncroped)



This second set of photos pertain to my color arrangements. For each set, we were required to choose two groups of words and apply a color scheme we felt was appropriate for each. Here are my two sets:


From Left to Right:
Winter    Summer
Fall         Spring


From Left to Right:
Old       New
Retro    Future

11.12.2009

Page 57: Visible Signs

Page 57, Visible Signs talks about the differences between Denotation, and Connotation. These differences can be summarized as seen below.

"Denotation- what is pictured"

Denotation for the most part is "straightforward." This type of classification, classifies objects in accordance with what they are. Page 57 uses the photo example. If you take a photo of a cat, it doesn't matter how times you take the photo because, that cat will always represent cat.

"Connotation- how it is pictured"

Connotation on the other hand, is dependent on the significance of the photo. Chancing the Film, Lighting, Framing, or Focus one can conjure emotions or memories through a picture. By changing any one of these things it becomes the viewer responsibility to decipher what is being seen, and how it should be read.

11.11.2009

Web Layouts: Round 1

Typography! Long time no see my friend.

Its been a while for type updates, but that doesn't mean i haven't been busy. From last week to this week we have slowly been progressing from a horizontal "book" layout, to a vertical "web" layout. Here are the layouts from round one. I have my favorites, which ones are yours? I'm open to feedback, leave a comment.

Refinements and Iterations to come



 
 

 

11.10.2009

TAXONOMY PROPOSAL

The Book of Mark
For my book of marks I am planning on creating a Japanese stab binding style book. I feel that this style binding would be the best way to elegantly portray my mark making skills, as well as tie the book closer to its Japanese haiku with a Japanese style binding. Each page would be 6" x 9," and have a slight tint to them as well, probably something connecting the cover color to the pages, (though this is still an idea so the color is not finalized.) Concerning the page layout, this part of the book is still in the air. This could go one of two ways:

Path #1
The book would consist of 4-6 prints per page that would open up into 8-12 prints, arranged in order of haiku line. (and perhaps haiku line as well)

Path #2
The book would contain 2 prints per page and open to a total of 4 prints, also arranged in order of haiku line. (and perhaps haiku line as well)

Each mark would be printed on transparent paper and will be sandwiched between two pieces of paper, creating a kind of window effect.

Denotative

Spatter
Lines
Circle
Puddles
Splash
Spill
Pool
Slash
Pool
Spray
Sprinkle
Blotch
Speck
Swoosh

Connotative

Flower
Sun
Mustache
Fan
Twig
Branch
Sunglasses
Sound Waves
Vibration
Pedals
Underline
Underscore
Rope
Wire
Ink Blot

11.08.2009

C.D.F Update



This week in Color, Drawing, and Form was all about Munsell Color Scores. The assignment consisted of nine color scores:


Vertical
Horizontal
Diagonal


Horizontal Cross-Section
Diagonal Cross-Section
Circular


Flat Spiral
Helical
Three Dimensional through Psychological Space

11.02.2009

C.D.F Update



Color, Drawing, and Form this week consisted mainly of Johannes Itten's, Seven Color Contrasts. These studies were constructed on two 8" x 8" formats that contained four 4.5" x 4.5" contrast squares. The Seven studies were:

Contrast of Hue
Light-Dark Contrast
Cold- warm Contrast
Complementary Contrast
Simultaneous Contrast
Contrast of Saturation
Contrast of Extension (equal)
Contrast of Extension (proportional)

Unfortunately there are no photos of this weeks work, another update soon to come.

10.27.2009

Reading "anotomy of a visual message"

After reading, A Primer of Visual Literacy by Dondis and Design Writing Research by Lupton, I had a revelation. Imagery in general usually falls under one of these three categories, representational, abstract, or symbolic. Though the three of these may be considered as separate Dondis, and Lupton's reading have shown me other wise.The basic level these three have in common is "interpretation," obvious I know. Interpretation of these three categories, as said from Lupton's point of view, is solely dependent on social context. I prefer to interpret this as a persons "experience." The more a person experiences the easier it is for them to understand and interpret what is being seen weather it is representational, abstract, or symbolic. From a designers point of view, understanding this concept is vital. When creating imagery designers must know what will reach an adult and what will reach a child. Knowing this will make for a better design and lead at a better meaning, weather it be representational, abstract, or symbolic!

Project 3: Haiku Word List

ONE FALLEN FLOWER
RETURNING TO THE BRANCH? ... OH NO!
A WHITE BUTTERFLY

MORITAKE

1. admiration
2. approval
3. descend
4. flower
5. graceful
6. praise
7. respect
8. single
9. sorrow
10. tragic

11. branch
12. combine
13. link
14. rejoin
15. renewal
16. replacement
17. return
18. reunion
19. revival
20. together

21. beautiful
22. butterfly
23. delicate
24. elegant
25. exquisite
26. fragile
27. lovely
28. precious
29. small
30. vulnerable


10.26.2009

Element Image


Mercury Hg

As far as titles go I am drawing a blank..... but i like my image!

10.25.2009

Color, Drawing, and Form

This week was the final week for working on our Letter form books. For the most part I am pretty happy about how my book turned out. Though there are slight problems, do to printer issues, as a whole the book is a most satisfying artifact. This project as a whole has really developed my understanding of what it takes, to create a letter form, and the process that goes into creating an accordion book. Here are a few Snapshots.


 
 
 
 
 

10.23.2009

SCHER VIDEO

Paula Scher’s video for me really highlighted what was already known. The area in which something is cultivated will have an impact on its development, this holds true for Designers. As designers there is a certain level of flexibility and adaptivity that is required in order to become something. This world in which we live in is continuously changing and going through shifts, fads or trends. The designers job is to keep up with these shifts and adapt to their changes, this includes environments. Cities are constanly growing, building, demolishing, and recreating. This constant change has an effect on the designs in which designers create. In most cases we can make the environment fit the design, its the design that has to fit the environment.  Understanding the environment where one lives leds to the development of work that is better suited of that world, as well as an adaptation of the designer to this different style needed in order to function effectively in this environment. Where you live affects who you are, its only natural it would affect a designers work as well.

FINAL STATEMENT



The title of my accordion book is "Westport," simple and sweet. When it came time to create my juxtapositions, combining our photography and line studies, I always knew I was destined for westprot. Its historic feeling represents the past and present, and was deserving of a book.



When arranging photos to lines, it was apparent that there were key factors that needed to be considered. The most important of these factors being spacial relationships between the line studies themselves and the accompanying photo. Without a spacial relationship to create a rhythmic feeling linking the two images there would be no relation between the two. The pair would die and become a static mess. This was a problem at times, and became very troublesome. Even know as a finished pice there is still room for improvement.



When deciding the layout of my book, a narrative started to pop out at me. The first page of the book begins with a more simple straight forward juxtaposition, and then progresses to a slightly more complex juxtaposition, and finally ending with a truly intriguing juxtaposition. This pattern is repeated 3 times to create a wave pattern, less intense to most intense. Kind of like an "ooh aww" feeling.



The book as a whole portrays the small unnoticed rhythms in westport and enhances them through juxtaposition. Mixing organic elements like that of a tree trunk, with that of a similar line manipulation. Or the geometric corners of a robust building with its doppelganger. While at the same time maintaining a sense of westport, and showing its movement through these rhythmic juxtapositions.



There is something more to this project, it has elevated my development processes to a complete other level. There are so many doors that can be opened, and so many problems that can be solved using this same development process that has been employed in these accordion books.

SEQUENTIAL PROCESS

There is a lot that goes into creating great graphic pieces. The key is development through iterations, and practice. Through the process of line development, there is a lot that has been absorbed and obtained. Each step in the ladder is an important part of the whole, from the initial line studies to the end juxtaposition. Over all, craft and process are the main ingredients that go into creating viable design.

Basic Line


Horizontal + Vertical


Raw Manipulation


Hand Edited


Final Vector


Juxtaposition with Photo