audrey hepburn's best films

Audrey Hepburn's best films would give range of visuals for a piece of motion graphics. I'd say a lot of her films have characteristics that are distinctive. I've always been keen on films from that era due to the classic style and I'd like to keep this topic as an option!

possible films to focus on:
/Charade (1963)
characterstic: police

^^ interesting old title sequence that incorporates type into the image...
/Roman Holiday (1953)
characterstic: rome

/Breakfast at Tiffanys (1961) 
characterstic: new york

SPIN/video1

with this video i wanted to play around with timing as well as dimensions...

Untitled from Frankie Roberts on Vimeo.

moshun

This example of animated typography is a pretty effective way of displaying the qualities and formation of the typeface. I particularly like the layout and the movement of the simple, mostly linear, shapes of the animation.

Moshun from Jeroen Krielaars on Vimeo.

motion tests

'30 motion tests in 30 seconds' shows a range of different effects playing with depth, shape, black & white + one colour, time, composition & movement....

30 motion tests in 30 seconds from Steffen K on Vimeo.

kyndill

Nice use of simple shapes, and solid colouring. It's clear that attention has been payed to timing due to the effective variation and fluidity of the moving shapes. The use of depth has also been played with along with a simplistic use of colour.

Kyndill from Phil Borst on Vimeo.

mountains

As a starting point to research I thought mountains could be a good start in terms of visuals. There's a range of information to be gathered concerning mountains e.g height, width, country. Maybe looking at the top 10 most dangerous mountains in the world:
/ANNAPURNA, Central Nepal (26,545 ft.)
/NANGA PARBAT, Kashmir (26,657 ft.)
/SIULA GRANDE, Peruvian Andes (20,814 ft.)
/K2, border of Pakistan and China (28,251 ft.)
/KANGCHENJUNGA, border between India and Nepal (28,169 ft.)
/THE MATTERHORN, border between Switzerland and Italy (14,691 ft.)
/EVEREST (29,029 ft.), border between Nepal and Chin
/MT. WASHINGTON (6,288 ft), New Hampshire
/DENALI, Alaska (20,320 ft.
/Mt. Fuji, Japan (12,388 ft.)

images:

saul bass

Saul Bass definitely has a particular style when it comes to designing title sequences. 'The man with the golden arm' is so simple but it works really well. Being a black and white almost makes the intro more bold and pretty modernist with solid blocks of white on black. All in all I like the effectiveness through simplicity of this design.

catch me if you can

This film introduction actually incorporates the type into the motion graphics eg. the two stems of the letter 'm' elongate into a ladder. It's simple yet bold bold with flat solid colouring, mainly using black and white with two other colours. It's very linear based and they've kept it two-dimensional with the illusion of depth.

logo

Here's a really quick but effective 6 second animation displaying a logo design. With it being so quick it makes you think what you can do in the time that we've been set. It's almost best not to complicate it as I think this one works through simplicity.

Kult from Victor Ruiz on Vimeo.

refined

This example of motion graphics was intended to be used with a university design show. It's pretty minimalistic and shows what you can do with the perception of depth.

soul train

Fun animation that incorporates type with the moving image. What I like about it is that it's a simple, light-hearted piece of motion that's appropriate to the subject using colour and music to appeal to the target audience.

Soul Train Awards 2011 Montage from Manhattan Born on Vimeo.

channel ID

 Good use of colour, pattern & depth with this simple ident for Channel ID. I particularly like the variation of angles and speed as they've clearly thought about different ways of playing with the original design.

CANAL+ Channel ID (HD) from odldk on Vimeo.

sonar

Sonar by Renaud Hallée. Really clever way of using sound with image. I like the simplicity of it as well as how it all comes together near the end. It effectively holds the attention of the viewer and yet it's pretty minimal. The colours used work well with this piece of motion graphics and it shows what you can achieve just using black, white and one other colour.

Print//packaging

I like how these designs become sophisticated through simplicity. The blank space on the labels make the products effectively stand out.

Print//packaging

I love the simplicity of the labeling for this honey. It's kept the purity of the product which I think makes it a lot more appealing. Although the label is quite dark & bold because of the shape, size and empty space it communicates effectively.

With simple packaging like this I'd say it really stays true to the function of design. It's clear and visually appealing.

Print//Packaging

Nice use of pastel colours with the brown paper stock for the minimalistic design. Simple, functional and quite fun.

Print//packaging

Another example of minimal design for packaging. Both the colour and the text makes it a fun set of products.

Print//minimal design

 Again, effective concept. I like the use of colour with the simplistic circular shapes. For the print brief I definately want to look into using colour/pattern/shape to define each product from the range. It's easy to understand and looks visually pleasing as collective design.

Print//minimal packaging

What i like about these design is that they're simple and clear. I aim to achieve this within my designs as i think they effectively communicate with the audience, with simple lettering and colour.

Type session

playing with font size and leading and how that effects the legibility of the type
we got into groups and decided that column 2 was easiest to read

the leading is one of the main factors that effects the legibility of the text

"The most current size for the normal text is between the 10 and 12 points. A point is equivalent to 1/72 of inch. If we design a composition with multiple narrow columns, the size can be reduced to 8 or 9 points; the bigger the paper, the larger the fonts can be, and the other way around. For example, if we use oversized paper or posters, we can increase it proportionally. For the headings there are no fixed rules, but often they are specified at a 20% superior or inferior size to the text size, together with a changes of style where necessary (using bold or italics.) This means that for a text to 10 points, a subtitle (or second level heading) of reasonable size could have about 12 points. If the text is greater, to 12 points, the subtitle would have to be increased to 14-14,5 points, and so on. Take care with the text alignment. Full justification alignment isn’t necessarily more professional-looking. Take a look to any printed publication. It will surprise to you to see that, in fact, the alignment to the left is also very commonly used. This is because left alignment is the option that obtains a better distribution of the letters in each line, without blank spaces or altering the letter spacing (adding extra letter spacing or word spacing is usually bad and best avoided, except for titles.) The other options —alignment to the right and centered alignment must be used exclusively for short texts (captions, titles, summaries...) since they make reading more difficult"

looking at how the column widths effect the legibility. the small column makes the text harder to read as you're creating pauses whilst you read it. the widest column, like that in a book, is also difficult to read as you're eye struggles to keep track of what line you're on and so its more challenging. we decided column 3 was the most legible and would be seen in magazines.


max words per line = 11-12
min words per line = 5-6


playing with fonts:

if the font size needs to be increased (without decreasing the leading) the blank lines can be removed but it must be clear where the paragraphs begin and end, like in column 2, using indents






for better readability, the tab should be about 3 characters in 
















you can control the 'colour' of the page my playing with the leading

including a picture meant that the font, point size and leading had to be played with in order to help the document look legible

print: RESOLUTION

the resolution of your design all depends on how much information the file contains.

pixel depth is another factor that effects the resolution. the greater the bit depth, the more colours there are that become available and therefore improve the quality of your image.

it's important to have an understanding of the relationship between pixel dimension and print resolution in order to print your design in the highest quality.

print: file types

FILE TYPES
every printer is different which makes it really important to send off the designs in the right file format. the standard file types tend to be a PDF, EPS, JPEG and TIF.



the adobe Portable Document Format (PDF) is the standard file format for print and proofinf unless specified otherwise. photoshop, in comparison to illustrator, acrobat & indesign, works slightly different & it's sometimes good to flatten the layors.

print: stock

how its made:
paper is made from cotton, pressed pulp wood or recycled paper.

weight:
the weight of stock is a description of the density of fibers that make up the paper. the weight of the stock is measured in grams per square meter. something to take into consideration is that usually, the heavier the paper the longer the stock will last as it's more durable.

thickness:
this is measured in caliper (inches) or millimeters. the thickness does not effect the quality of the stock 

colour:
to do this the fiber pulp is dyed before pressing. these are more expensive then white paper. there are bright, parchment, and pastel shades, along with metallics.


texture:
this depends on the manufacturing process as well as the size & quality of the wood fibers. if the paper is tightly pressed with fine fibers the paper has a smoother finish. less pressed stock with larger fibers results in card/board.
Laid: machine-made paper with a pattern of parallel lines. 
Vellum: a paper finished to appear like the writing material vellum, which may be either prepared animal skin or parchment, i.e., a slightly rough finish. 
Linen: a paper finished to appear like linen, a woven cloth that can be used as canvas. 
Felt: paper that is textured by being pressed with patterned wool or felt during the manufacturing process. 
Embossed: a paper with a raised design created by pressing or hammering the design onto its back.

opacity
this refers to the density and thickness and it's measure on how much image and text can be seen on the reverse. tracing paper is created by immersing quality paper into acid.

finishes
varnish coating
the varnish can be applied with the inks or as a separate run and keeps the inks intact
matt, satin & gloss
the quality of the paper determines the intensity of the ink and there's quite a difference when comparing matte & gloss. printed onto matte paper, ink sinks into the paper creating a more dull looking finish where as the ink sits on the surface of the gloss stock therefore making the ink appear more intense and deeper in appearance. satin allows for slightly less intense colours then gloss but it doesn't have the shine.

developing kit

taking a look at what developing kits are out there at the moment. in order to promote the use and development of photographic film i'll definately look into how to re-design kits such as these. although they may be functional, they're not persuasive in their visual design.

Kit contents:

Color Developer Part A - 50ml highly concentrated
Color Developer Part B - 50ml highly concentrated
Color Developer Part C - 50ml highly concentrated
Bleach - 140ml
Fixer - 100ml
Starter - 10ml
Stabilizer - 25ml

more kit designs:

 

Paper size

A Sizes (mm)		B Sizes (mm)		C Sizes (mm)
4A0	1682 x 2378
2A0	1189 x 1682
A0	841 x 1189	B0	1000 x 1414	C0	917 x 1297
A1	594 x 841	B1	707 x 1000	C1	648 x 917
A2	420 x 594	B2	500 x 707	C2	458 x 648
A3	297 x 420	B3	353 x 500	C3	324 x 458
A4	210 x 297	B4	250 x 353	C4	229 x 324
A5	148 x 210	B5	176 x 250	C5	162 x 229
A6	105 x 148	B6	125 x 176	C6	114 x 162
A7	74 x 105	B7	88 x 125	C7	81 x 114
A8	52 x 74	B8	62 x 88	C8	57 x 81
A9	37 x 52	B9	44 x 62	C9	40 x 57
A10	26 x 37	B10	31 x 44	C10	28 x 40

All paper sizes have specific measurements and it's a crucial part of your design that needs to be sent through the printer properly.

TARGET

I found the trip to Target really interesting and it's given alot more confidence with the print process. Seeing the printers infront of you really helped with my understanding of print. Target had a large lithography printer which uses CMYK. It's a 6 colour printer allowing for two more spot colours. 


It was also really interesting to see how the flyers etc were sectioned and cut. It showed me that alot of thought process would have to go into each plate layout as it aids the efficiency of the printing process.

Colour

PANTONE
Specific spot ink colours, the PMS (Pantone Matching System)

CMYK

Cyan, Magenta, Yellow, Key (Black)

This describes the subtractive colour model used in colour printing. CMYK is contrasted with spot colours where specific coloured inks require their own printing plate.

RGB

Red, Green, Blue

This is the additive colour model that is used in design for screen. Only a select amount of RGB can be printed with CMYK, displayed in this colour chart