Sunday, February 28, 2010

3 panels

Consumer: My consumer loves nature. She loves to ride her bike to the local coffee shop. (Yes it is a she) While she is at the coffee shop she lets her mind unwind by reading a philosophy book. She loves philosophy because it lets her mind wander and explore things she may not have thought of before. She cares about her health and eating natural. She enjoys yoga in the mornings, painting in the afternoon, and spending time with her pet cat mittens right before she crawls into her bed. Call her trendy if you want, but she is going to love my product.

Comparables: My comparables are any tea that looks well designed. They usual consist of bright colored packaging and a unique bottle. The unique packaging makes my consumer want to choose it because it is different. (This makes her feel special and trendier) The oriental tea also draws my consumer in because it has special ingredients for health boosters (or so it claims). Let them pretend to be special, and unique but they have not yet met my product.

Visual research: My visual research is very colorful and full of texture. I want it to feel like it has been hand created. Like each package is one of a kind (Sort of like a masterpiece). It is something that draws my consumer in because it looks like it is very tactile. It is so full of sensation; they will have to touch it.

Thursday, February 25, 2010

revised concept/weblayouts/everything

mccoy roll over

opens up to bio (maybe have some work examples here)

Here is a little example of how transitions would work from page to page. The maps would have the same roll over effect as mccoy and vignelli. Once the maps would be clicked on it would show history of modernism for italy, history of post modernism for u.s.a. The names will have color roll overs that open up to the actual essays. I plan on having work pices in the open spaces on the bios. Still a work in progess.

Monday, February 22, 2010

some animation progress

These are some short, quick animations that I did in class

Untitled from johnna pasch on Vimeo.

Sunday, February 21, 2010

extra credit banner

So this is the banner ive started working on for designalogue. Im still messin with the colors, im just not sold on them yet. Also, Im wondering how far to push legibility. I feel this is completely not legible but then again I could have been staring at it for too long. This extra credit has helped me in experimenting with overlays and scale. fun fun!

The persuasive experience

When starting this project I had no clue what to do. I looked through several packaging examples online and saw things that looked interesting but didnt know how I could apply them to this project. Then I realized maybe I should focus on creating a product that could be earth friendly first, then from there move on to how the packaging could help play a role in this. I wanted a product that could give off a feeling of relaxation and peace. So I tried to think of things that were relaxing, I first thought of incense or smells, then quickly came up with wanting to work with tea. Not only did I want to focus on the tea itself being organic, but how could I fit in the "no throwaways" with this product. ...?

target audience:
My target audience would be any one who drinks tea. Most likely someone who is at least 18 years old. I am hoping that this would not just be for someone who cares about recycling and "going green". I am hoping to encourage someone who does not really care about recycling to reuse some things.

Product line:
- box that holds tea bags
- tea bags
-for fun** cut out stencil to create prints w/ tea bags

Proposed Strategy:
Tea is something very natural and relaxing product as is. So some questions I am asking myself :
How can Tea become even more natural?
How can tea bags possibly be reused?
Once this problem is figured out, how do I design a package that makes buyers want to participate in the reusing of this product?
Can the package be transformed and used in promoting the reuse of the tea bag?

Saturday, February 20, 2010

Monday, February 15, 2010

Designer Bio

close up of hypnopaedia

more of hypnopaedia
color whiligig

So I have been looking and looking over the web for a designer that I felt best fit what I was doing. I really could not find anyone who I felt was capturing the same thought plan that I had. If I did find someone doing something related to me, I could not find enough information on them, or process and reasoning for their work. I guess this is a perfect example of why just placing a visual image of what you are doing is sometimes not enough for the viewer. Using process notes, and writing about your work can sometimes be very helpful to designers viewing your work. Enough with that little rant though. Today in class while the sophomores were touring our experimenting, Jamie mentioned the name Zuzana Licko to me. After looking through her typefaces, I think I have finally found the perfect person to write on.

Licko was born in 1961 in Bratislava Czechoslovakia. She emigrated to the U.S. in 1968. She went to school and graduated from The University of Berkeley in 1984. She became a part of Emigre magazine in 1984. It began to incorporate her typeface designs she created with the first generation macintosh computer. The exposure of her typeface design led her to create her to manufacture Emigre Fonts.

The particular fonts that I chose to use as examples to mine are: Hypnopaedia and Whirligig. I chose these because It has the "pinwheel" look to them. Whirligig is more of decorative illustrations, not leterforms. Hypnopaedia was first published in 1997.Each Hypnopaedia illustration was created by concentric rotation of a single letterform from the Emigre Fonts library. When repeated, each Hypnopaedia illustration creates a unique pattern of interlocking letter shapes. An infinate variety of patterns can be created by combining and changing the 140 illustrations. This next part comes directly from Licko: The catalyst behind developing the Hypnopaedia patterns was the lack of legal protection for typeface designs in the US. This continues to be a big problem for typeface designers, and is due to the fact that people in general find it difficult to comprehend letters as abstract shapes. It is this inability to distinguish between the ornamental design of letter forms and the alphabetic characters they represent, which has resulted in the lack of US copyright protection for letter form designs. By turning letter designs into texture, the Hypnopaedia pattern illustrations allow us to make this distinction and appreciate letter shapes on a different level.

It occurred to me that taking letter forms out of their usual context of alphabetic word composition, would illustrate that letter form designs have value as independent forms, separate and distinct from their ability to represent alphabetic characters. When applied within the context of pattern elements, the stylistic messages of letter designs are allowed to surface.

Letter forms are constructed as shapes of positive space, but of equal importance to their recognizability as representations of alphabetic characters is their enclosure of negative space as well as the white space that separates letters from one another to facilitate the recognition of words. Within the Hypnopaedia pattern elements, on the other hand, the negative spaces of the original letter forms are altered by rotation and by the positioning or interlocking of adjacent shapes.

When viewing two different letter designs of the alphabetic character "A," people tend to focus on the similarities between the two "A"s as they both represent the character "A." Some people might even express difficulty in distinguishing between the two "A"s altogether. Within the context of these patterns, however, it is clear that the patterns created from various "A" designs, for example, are in fact each distinct and separate in visual meaning.

Each of the resulting Hypnopaedia pattern illustrations was created by concentric rotation of a single letter form from the Emigre Fonts library. When repeated, each Hypnopaedia illustration creates a unique pattern of interlocking letter shapes. An infinite variety of patterns can be composed by combining and alternating the basic 140 Hypnopaedia illustrations.


Friday, February 12, 2010

color experiments

So this is my first attempt at adding color, and layering these things. I think I like where they are going so far. I kept the same pattern and repeated it for all but one. On the bottom left corner, I mixed a couple patterns together to see what effect it would have.

Thursday, February 11, 2010

a lil more

Here I did not cut the letters out I left them on solid white paper. I also did a few different letterforms. The last row I did two different letterforms together. I also messed with a little different spacing on the mirrors. I think I have realized I liked the way I had the mirrors places in my last post better than this way. I feel this way because these ones are more clear and you can still tell what the letters are. In my last post the letters got lost because they were starting to mesh together.

Tuesday, February 9, 2010

Monday, February 8, 2010

In class progress

So this is what I did in class today. I really like where this is going and I am having a lot of fun, which I feel is very important to keep this experiment going:) My issue I am toying with now is how I can make this more digital, such as vector? I really enjoy the black and white photography and the reflection of the glass so I am wondering how to carry this traits into a digital form. I would also like to add some color to these, and my next step is to print my letterforms on transparencies so I do not have the white paper in the negative space of my letterforms. Super exciting!!!!

Sunday, February 7, 2010

experimenting phase: 1

For this first part of my experimenting I started off with the idea of just taking a basic serif letter and moving a mirror vertical and horizontally across. Then I did the same with a san serif and then with lowercase. I felt this was a good process because it gave me an idea of how the mirror works against a letterform and what ways you can hold the mirror to change the angle of the reflection. I started to notice patterns that the mirror could create with a single letterform. I also took notice in how a letter with no serifs looks differently. I don't really know where I am going from here but I have so many ideas now after this simple basic experiment.

Friday, February 5, 2010

In class questions to think about

1. How does a pattern in typography that is random differ from a pattern that may be planned or controlled?
2. What are the principles of a Kaleidoscope? How can these characteristics come through in typography?
3. Can a letterform that is fragmented create a more interesting pattern then a letterform as a whole?
4. What happens if the letterforms are rotated at different angles and then reflected?
5. What if letterforms were transparent or overlapping? How can this element add another level of interest?
6. What if the letterforms created were set in motion such as an animation?
7. What if the motion made piece was then reflected onto another surface? These surfaces could be a wall flat, or maybe something that would cause the projection to bend such as a corner, or perhaps another reflective surface.
8. Can you create multiple letterforms with one single fragment?
9. What effect does using one single mirror have on a letterform V.S. multiple reflective surfaces?
10. How does multiple letterforms of different sizes and typefaces differ from a single letterform.

Thursday, February 4, 2010

wire framing

some inital concepting:
wire framing sketches:

Final digital wire frames

reflective type

I would describe the kind of typography that I have been researching as reflective or vibrating in a way. The traits that it may hold include: It can create patterns or shapes and transform the original letterforms. There is usually some sort of color added to it to make the letterforms more vibrant. Some of the letterforms also deal with transparencies or overlapping. This is again usually done with color added to create more colors and levels that almost look 3-D although they lie on a flat surface. I think it is very interesting that there seems to be more than meets the eye if you study these letterforms. They make you think about what it is exactly that you are looking at. I love the mystery and somewhat random pattern of the type that I have been exploring. I have been researching and researching but I am not sure where exactly this type of style first began. There is no way I can tell that for sure. My guess to who is doing it may include people like me who are experimenting with typography. I picture this typography on a contemporary museum exhibit, or a poster for an event for a museum. The reason for that is because it can be very abstract, and perhaps the only people who may understand it or read it would be people who think creatively or are into art.

I feel that this type of typography is important because it pushes the normal. It makes the viewer ask questions. It is so experimental and unique that it may inspire other people to experiment and do something related. It lets people know that typography is and can be a form of art. It can be very personal to the person creating it. A letterform can express more than just trying to create a word. A letter designed in this manner that stands alone can express beauty and power all by itself. It is important also for the fact that it starts a path to experimenting and hopefully will lead other designers, students, or even someone who has no interest in this field to experiment and be creative.

I hope that in my experimenting I inspire someone to look at the world differently than they would have before. I want them to look at what I have created and want to create something like me. I think it is very important to look at other peoples work for inspiration. We as artists and designers can feed off of each others creativity and create amazing things, to me this is such a beautiful thing.
I have decided to experiment with mirrors and the patterns that they can create in a device such as a kaleidoscope. Some questions that I have been asking myself and considering are listed below:

- What If one single, large letterform was in view. What angles or pattern could it create by itself?
- What pattern could be created with multiple small letters ( all of the same letter) ?
- What if they were all different letters?
- What would be the difference in controlled static letterforms, or letterforms that were able to move and float around at random?

My main goal in this kaleidoscope is being able to let the viewer interact with the project and experience my experiment hands on. It could be as if they too were help in the experiment.

Wednesday, February 3, 2010

Bike in class progress 2

This is what we will be using for our user trials. We are hoping that one or two diagrams or pictures will do the job by not adding a lot of diagrams or pictures to add confusion. I guess we will find out how our design and content works soon!

Monday, February 1, 2010

In class bike progress

In class today we tried to figure out the form that our instructions will take. We want there to be a nice flow between the pages when opening it but we still need to figure out exactly how this will fold the way we want it to. We also thought of the these little ideas: A possible path that leads you through the instructions(maybe like a bike tire), The directions be broken up into sections with key words to locate the step versus just having 1,2,3,4,5, ect.