INDEPENDENT PRACTISELOUIS WHITE

ID: 0900517UNIT ERGD 2010

Welcome to the Semester One Portfolio, Independent Practise.

CONTENT

Document 02Typography 05-22

Colour 23-36Shapes 37-44

Document 45-48

Never truly loved Typography. Know about colour but rarely use it. Detailed mind over understanding. When starting Graphics in college I came from an art background, and I had discipline in the pencil, shadow, proportions etc. The communication aspect was never prominent and year by year I developed that skill set. Now in year two I have hit another turning point in my practise. My greater understanding of how design works has pushed me to learn areas

I have never been secure in.

My art has developed into hand-drawn/digital illustrations, something that is important to me but know I believe to grow I need to explore more. Typography has some how taken over from illustrations, I have hated type for a while now even though I use it often. My new found love of type is something I want to explore more and in time build. The use of colour in my illustrations have not been evident, and it brings the viewer to the conclusion that I may not know how to use it. I have always loved drawing in pencil then bring it out with ink or digitally, but the final outcome is always black and white. Colour is something I have always avoided, using black and white in my eyes is harder to grasp. Its okay to say that I can use colour, but this year I really want to prove it and explore colour to broaden my outcomes. I always believed that the more detailed something is, the more work the composer put in. That’s why I go around designing with as much detail as I can, but this isn’t always true. Less is more. This is

something I want to look at this year.

It is pretty evident that most of my design universe revolves around illustrations, which was true a few months ago in year one. This year I want to showcase and explore what other disciplines I have learned

to love.

The field I want to explore in for Independent Practice and also Studio work is Minimalist/Modernist Design. It is a field I have grown fond of, because the understanding is never misunderstood. Explaining the idea behind my work has not always been easy, bringing it back to simplicity will help me to grow. Within Minimalism/Modernist I want to look at the process forms of Typography and the use of colour themes. The fear of change and failure is what motivates me to look

at this field; you cannot be scared forever.

My research will revolve around the case studies of the interpretations of Minimalism/Modernism, with focus on design, colour and type, and also want to look at videography, music and analog photography in the same context. Research always begins with numerous books, then the Internet for proof checking, and then understanding then exploration. Depending what I find is how I will conduct further research. Overall, this independent practice is going to be one of

mass discovery. Enjoy.

PLAN

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Handle Break Bar 64

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The word Typography is universal; it’s used across languages and cultural backgrounds. You’re taught to write in your own typeform at a young age, and subliminally exposed to type through various scenarios at an even younger age. It’s a powerful communication tool. Understanding typography is different to admiring it. Independent Practise is a great opportunity to explore what I’ve had a love/hate relationship with for many years now. With reference to modernist context, creating a typeface was going to be interesting.

Research was key to keeping on track with Modernism, without straying to different movements. So, gathering the main features of Modernist typography was the first step. I looked at this great book called “The New Typography” by Jan Tschichold, of whom is known for his modernist design principles. It outlined key points that have been implemented to my own ideas. The points were more like quotes that inspired my direction. Tschichold uses the words “ San serif, as the letterform of the modern world” and “Satisfactory san serif’s will probably come only through a process of collective and anonymous design”. It was clear that the typeface will be designed and developed into a San serif, it is a very minute feature but the distinction is very important. Sharing one more quote from the book “Modern engineering and standardized machine manufacture have of necessity led to the use of precise geometric forms”, it’s a direct comment to the comprehensive styles of a modernist designer. Geometric forms are what I relate to Modernism every time I hear the word, but to read it through an accurate connotation like this, puts my thoughts into context. To me, with reference of Graphic Design, modern engineering relates to Adobe Illustrator, it was a thought at

the time.

The book went on to detail different forms and approaches to Typography of New. From people like Aldus Manutius, the beginner of the new Typographic age of Book Design to William Morris, the arts and crafts movements. The book was very informative and gave

me insight into what I want to achieve with this typeface.

Explored, Designed and development finalised. Introducing Handle Break Bar 64. A unique typeface influenced by life.

HANDLE BREAK BAR 64

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Through early development and great frustration, the typeface, Handle Break Bar 64 was made. If it wasn’t clear from previous notes, this was a big step. The influence for the typeface came from BMX culture and lifestyle, something that has been prominent in my life. The multitude of BMX parts scattered around my room finally came into use. The initial ideas had potential but I really had to stop, stare, go away, stop and stare a few times until I found an interesting

angle I wanted to take the typeface down.

The design is based on a handlebar, something used for support and control. This is relevant to the further development of the typeface but wasn’t built around it; the design was merely put in place to resemble the handlebar form. Graph paper and the digital grid were used collaboratively to measure and geometrically proportion the typeface into reality. It was important to get this correct, so when it came to resizing and development, no problems would be faced. The curve is the most important feature on the typeface, its what makes the type flow. A quote from Jan Tschichold that just would’nt leave my head during the development of the typeface, “The value of an object is not measured by it’s origin, but by it’s approach to

perfection of form, the highest and purest design”.

Upper Case

Lower Case

Numbers

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012034456789012345604

When the typeface could work on its own, and was eligible, it was time to take it further and implement design. The inclusion of two different weights of line in the typeface opened up room for development on the use of block colours. This was a great feature against the use of design. One concern was that the weight of the lines are too thin, and there was no area for a block of colour, to give the typeface a strong feel. Something to look at in further

development.

To demonstrate the typeface I looked at Cavin Spacey by Alex Schulz. Cavin Spacey is a modern geometric typeface that inspired some of my progressions. What inspired the most from his work was how he took the typeface from simple letters into pattern, illustrations, physical objects and imagery. To showcase the type, I looked to including it in my modernist ventures as well as creating illustrations

and design.

The future of the typeface will involve development after revised critical views from the public. Its good to see what people think, whether designers or not, each view is valid and will help move it on.

The common question raised about the typeface, is why 64? Theres always this need to explain yourself to the viewer especially in design portfolios. Thats completely understandable, but the reason behind 64 is personal, not seriously personal, but I believe in letting the viewer create their own vision. Louis had 64 children with 64 different

women, who love BMXing. Handle Break Bar 64. Enjoy.

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Nike

Drake - Shot For Me

Geometric shape design is a prominent feature in Modernism. It’s not the shape entirely all the time but what it represents and how it is structured. The geometric shape is important because it represents, accurate measurements, simplicity, prominence and forward thinking. I more thought researching shapes was exploration than actual research because I’ve been creating shapes, mental shapes, and realistic shapes in my head and around me since I was young. From a day to day routine that you do everyday, implication of a never ending circle, to swimming lengths in a rectangular swimming pool.

It’s interesting to dig deep mentally instead of looking for inspirations and research on a matter that has always been personal. To demonstrate this ive complied shapes but with emphasis on what they mean, what they stand for and perception. The underlying point is that research is a good tool to show understanding, but never have I expressed the shapes in my head. Research will come after to see

how others have perceived shape.

SHAPE

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Geometric shape design is a prominent feature in Modernism. It’s not the shape entirely all the time but what it represents and how it is structured. The geometric shape is important because it represents, accurate measurements, simplicity, prominence and forward thinking. I more thought researching shapes was exploration than actual research because I’ve been creating shapes, mental shapes, and realistic shapes in my head and around me since I was young. From a day to day routine that you do everyday, implication of a never ending circle, to swimming lengths in a rectangular swimming pool.

It’s interesting to dig deep mentally instead of looking for inspirations and research on a matter that has always been personal. To demonstrate this ive complied shapes but with emphasis on what they mean, what they stand for and perception. The underlying point is that research is a good tool to show understanding, but never have I expressed the shapes in my head. Research will come after to see

how others have perceived shape.

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Ive been looking at modernism/ minimalism for both Studio and Independent practise, and I’m concentrating on ways to intertwine them and give my explorations relevance. Here’s the design I put together to represent them both, I always start with the front cover before I start to put my portfolio together, its how I work, it keeps me focused throughout the portfolio. The design is more post modern than anything, the design is a collection of geometric shapes that represent my perception of the year two course. The Triangle and the square will be the front cover for Independent practise. The triangle represents the forward motion of our minds as individuals, as we strive to focus on a specific area that we want to portray in our Independent portfolios. The Square represents that focal point of practise and emphasis on exploration. The two circles as you guessed it are for Studio practise. Both circles represent our two tutors, Mark and Sophie, both different people that will look at the portfolio in a different way to each other. Focus more on tutors on the Studio practise cover, as the tutors set this work for us, it is ultimately them who mark to criteria. Ive kept to two colours with an overlay of cream to ease the image. Less

is more.

GeometricFeatured on Abdzeedo Daily Inspiration #988

Chuck Moustachio is a construction of three triangles. That geometric form is very deformed to how I have reimagined. Its called Chuck M. because of the strong nature of the shape, the name orginated from Chuck Norris, an iconic American martial artist and actor. Its a

strange comparison but thats just how my brain works.

The shape represents strength, the resemblance to almost a crowd or an emblem gives this impression. Using triangles, there are no smooth corners, each corner has a point. Aswell as being a construction of triangles, you can geometrically fit measured triangles into this shape successfully. The inclucion of lineage gives the shape a non symmetry design, something that doesn’t hinder the design but adds that sense of imperfection and change. The block triangles add the hard perception of the shape, wheras the hollow triangles

add support and secruity.

There hasn’t been much colour implementation but the colours chosen so far really keep the shape simple. The generic black gives a great base to add colour of course. Colour in the shapes are

demonstrated later on in development.

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Another geometric experimentation, I’ve kept the colours the same as the last one, so I could focus more on the design. Ive been looking at colour over the past few days, and Im looking to implement soon. The design is in the form of three triangles that are posted below, it represents a more deep, stronger feel to it than its previous. Conveying emotion from these designs is something Ive looked into, even giving the shapes a name can help convey this. The inclusion of various colours other than my base colours at this time, will create a different perception of image. Ive been looking at Johannes Itten

and Goethe.

XX GeometricFeatured on

Rawz Daily Inspiration 24th Novemeber 2011

Egbert Jefferson is Egbert Jefferson because it is a combination of two nerdy names that sprung to mind. It was a reaction to the geometric shape created. The shape is a symmetrical reflection of a rectangular design previously made, it also has some sort of

resemblance to a Rorschach ink block test.

The shape doesn’t look as strong as Chuck Moustachio, the concentration of block colour is situated on the outskirts rather than the centre of the shape. The higher use of lineage over block design portray a very skinny and mentally structured shape. The original design was a collection of four squares, which frequently give the impression of secruity and strength. Just because she has a gun in her hand doesn’t mean she is a killer. Its the whole illusion of

perception that occurs even on geometric shapes.

The implementation of colour will change what the shape perceives to be.

This geometric experiment is another outcome of Chuck Moustachio. It has been made into a unique multitude illustration. The combination of instrumental parts make this illustration work, as it flows across the page. With the same generic colour theorem as the previous, the image still looks striking and works on its own. The design is compact and presents stability, this is also helped by the concentration of block colour in the centre of the illustration. The subtle lineage, indents and allignments create a layered image, an image with texture and depth. The next step for all of the geometric shapes made, is to start combining the typography and colour

theorems.

GeometricFeatured on Abdzeedo Daily Inspiration #990 & 991

The step from black and white to colour is a beautiful reoccurrence that changes perception, context and thought. They say that the world is colourless. We experience colour range through vision, and the process of reaction then determine the meaning we attach to it. The depth of colour stretches and differs between cultures and

individuals respectively.

To explore and understand colour is a huge part of design practice that has needed attention. My personal design always begins as a black and white image. The implementation of colour is fuelled by modernist ways. The striking colours that collaboratively work with the simplistic design, inspire to look deeper into this skill set. Modern colour is interesting because it’s the world we live in now, and how we perceive design currently. Ive been looking into colour psychology and colour as an important brand recognition device. The psychology of colour has always been socially accepted and understood, but to have it written out sometimes shocks me. This research led on to the Trichomatic theory, and how colour is reconstructed by the human eye and the brain. Colour wheels, hues and harmonies were also researched. Surprised at most because it’s a huge part of life that as soon as you question it or underline it, it becomes real. This greater understanding of colour will guide me to implement into modernist design and my future design ventures. Modernist colour is the understanding what the colours mean and do, rather than the

use of set colours.

MODERN COLOUR

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The Bahaus has been an inspiration when it comes to modernism. They produced great designers that are thought provoking, and provide theorems that question design respectively. Johannes Itten and his student Josef Albers, both of the Bahaus, created a unique way of thought with regards to the use of colour in Art. Itten researched colour relationships and visual effects, and how colours could have psychological and spiritual effects on people and actively influence the way the felt. Albers investigated on how colours interact. I read a quote that interested me, “A person ultimately develops their own colour palette”. This quote really expressed a great point that ive explored generic colour palette but not my own as yet. To the right

is the representation of colour on Itten’s colour wheel.

YellowR255 G255 B0

Yellow/OrangeR253 G181 B8

OrangeR241 G104 B10

Orange/RedR243 G58 B1

RedR242 B4 B2

PurpleR225 G0 B94

PurpleR104 G28 B116

Purple/BlueR53 B60 B138

BlueR9 G81 B163

Light BlueR4 G119 B146

GreenR0 G127 B48

Light GreenR0 G127 B48

GreyR115 G111 B102

Psychological NetralityLack of Confidence, Depression

BrownR160 G40 B13

Seriousness, WarmthLack of Humour, Heaviness

VioletR176 G19 B90

Spiritual Awareness, VisionSupression, Inferioty

BlackR28 G24 B21

Sophistication, Security, SafetyOppression, Coldness, Menace

BlueR36 G81 B148

Intelligent, Trust, CoolnessColdness, Aloofness

RedR253 G18 B1

Strength, Warmth, EnergyDefiance, Aggression, Strain

GreenR0 G161 B32

Harmony, Balance, EquilibriumBoredom, Blandness

YellowR252 G226 B5

Optimism, Creativity, SelfEsteemIrrationality, Depression, Suicide

Another person related to the theorem of colour was Goethe. He believed that personal colour preferences might relate to individual colour and there was too much confusion surrounding the use of colour in Art. Goethe was influenced by Itten’s colour research. Also another related to colour theories was max Lusher of whom believed colours effect the mood and choices of the viewer. To the left is the

Luscher’s colour card test.

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Never have I honestly not wanted to finish something that I have started. The methodological approach to Independent practise has given me the view of the blurred finish line, through the bendy road.

No idea is ever finished, there is an implied end to a chapter which opens up another book. This constant way of thinking throughout the portfolio, helped coming to terms with final designs. The portfolio created is the starting process of the venture into Modernism, and the way of thinking. Modernist ways is the concentration, but intertwining of cultures, styles, ideology, movements and history is the complete goal. Final designs are non existent in this portfolio, they are experiments with proposed further development. The link and continuous practise to semester 2’s Independent Practise portfolio

is most definitely existent.

It’s easy to say I’ve learnt through this portfolio, but the capacity and will to learn more is evident. As stated, this is the beginning of a thought process, that has taken me out of my comfort zone. Its scary, nerve racking but exciting. Different aspects of my comfort zone have been sacrificed to project into a different mind-set. Giving room to explore this new mind-set and collaborating with the old, is an idea that can not die now because I decided to create final pieces and move on. The future outcomes are potentially endless, with reference to the deadlines and general time management in this second year. The purchase of “The modernist” by Robert Klanten is an indication of a step towards current contemporary forms. A step worth making after this exploratory history lesson that has been

Independent Practise this semester.

This is the first portfolio that has linked to each aspect of this semester. This experience was welcomed and kept me constantly concentrated on the different areas explored. This portfolio has been the understanding and the experimentation of modernism, compared to Studio practise being the use of modernism. With these portfolio’s being built in cooperation, the links made are evident, and the understanding and thought process are clear. The usual hindrance that is Contextual Studies, assisted in the unravelling these practises. Contextual Studies was the study of Pop Culture, the anti Modernism. If it wasn’t for the 2000+ word essay, a conflict essay would have been written between these two movements. With various deadlines it may have been near impossible, but its in my intentions to highlight that great link between them. Pop culture influenced

some of my experiments in a modernist way.

Its not always best to be the first finished, but the one who finished second with a purpose. This unit has been influential. Less is more.

FUTURE PROSPECTSLEARNING & EXPERIENCES

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A week of Inspiration, it was a must, in a deadline drenched semester. The weeks leading after the PaperCo. Studio Practise project, were draining and full of creative block. Excitement ensued when this week was announced, it was a time to just listen and observe instead of

the usual routine.

The focus was to listen to these design professionals, and remove this creative block that loomed. In conclusion I went to three lectures of the proposed five, but that’s all that I needed to create. The first lecture with Zoe Sinclair of the Girls, and this proved to be the most beneficial in outcome. She gave five points that completely inspired and opened my mind; Website/Web Presents, Network, Follow up on contacts, Be good in meetings and Generate income from other things first. These points hit me like a bullet, it almost scared me into reacting. Another point she added was that “why make work if it isn’t going to be shown”. All these great points that deep down as a second year I knew, but when said by a seasoned professional, they became real. With some ideas flowing, not in the design sense but in a more design administered way, I updated my Flickr, blogs and called a design agency. It gave me inspiration to do the things that I take for granted. Now I’ve had my work on Abdzeedo, a great design website, three times in a row know. My Flickr has over 600+ views from 4 when I first set it up. I also have an interview with a design agency. It wasn’t as simple as it sounds, I obviously had to have the work to support these ventures, but nonetheless, all I had to do was present my work to the world instead of being sanctioned

on my laptop.

The talk with Mary Lkoniadou didn’t really inspire confidence to do what I did before, compared to Zoe Sinclair, it brought up the same points but nothing new that i could build on. One point good point made, was that as student designers we should be making do with what we have. With references to spending money, compared to finding things and experimentation. The last talk I went to was Roderick Mills, this really inspired. He spoke about having control of your career and doing what you want to do. It brought me back to a quote I’ve heard so many times, “Do what you love to do, and you’ll never have to work a day of your life”. The talk gave me a great mind-set to lead into what I’ve called late night, sleep deprived deadline

month.

The talks were inspirational.

LAB WEEK

Books

Tschichold,J.,1928, The New Typography, Translated from German by Ruari Mclean, University of California Press.

Berman,C.M,2004, Avant-Garde Graphics 1918-1934, South Bank Centre, London

Fraser,T.,2010, Colour in Design pocket essentials, East Sussex, ILEX

Banks.A.,2010, Colour in Design pock essentials, East Sussex, ILEX

Barnbrook,J.,2007, Barnbrook Bible: The Graphic Design of Jonathan Barnbrook, Hong Kong

Collins,M.,1990, Post Modern Design, Hong Kong, John Wiley & Sons

Papadakis,A.,1990, Post Modern Design, Hong Kong, john Wiley & Sons

Finke.D.G.,2000, White Graphics, Minneapolis, Rockport Publisher

Gandl.S., 2007, Neubau Modul: Electronic and Analogue Patterns, Die Gestalten Verlag

Grunberger.C., Neubau Modul: Electronic and Analogue Patterns, Die Gestalten Verlag

Internet

Abdzeedo, 2011. Abdzeedo Daily Inspiration [online] Available at: < http://abduzeedo.com/ > [Accessed 28 September 2011-].

Behance, 2011.Behance Featured Projects [online] Available at: < http://www.behance.net/ > [Accessed 28 September 2011-].

From Up North, 2011. From Up North main [online] Available at: < http://www.fromupnorth.com/> [Accessed 28 September 2011-].

BIBLIOGRAPHY

“Poetry is the design of words. Words designed to be portrayed. All the dirt that I’ve got on my hand. You have already survived many deaths. You can find the body in the red cupboard. It’s not a hologram. However, Roses are red, violets are just colourless to the naked eye. This modern car industry has the lifespan of candy in a

candy shop, outside school gates. Let the bombs go off.”

Modernist Poetry Louis White

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