David Carson

David Carson is an American graphic designer and art director, who is best known for his innovation and experimental use of typography. He's famous for his approach to type and layout specifically for magazines such as Ray Gun and Beach Culture (see figures 1 and 2) in which he infamously broke the use of traditional grid systems creating a new approach to design. Carson has a liberal and open minded approach to design as influenced by his lack of formal teaching which allows him to create interesting and innovative work as he is not confined by a set of rules he's been taught. Personally I find Carson's approach to design interesting and insightful due to his ability to effectively break the traditional rules within graphic design whilst still making effective and visually effective work. In addition the sophisticated use of typography interrupting images as seen below creates an interesting cover due to the 'mis-placement' of different price of information such as the price or the grouping of information that apposes the stereotypical magazine cover layout. I plan to experiment with different ways to break traditional grid formats within my own work as inspire by Carson as I usually tend to stick to traditional formats within my work due to their simplicity and structured nature.

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Studio Brief 3: Research

Unplugged Exhibition by Bureau Mirko Borsche: figure 1
Unplugged is an exhibition at the Design Museum celebrating the work of Bureau Mirko Borsche featuring pieces of work that have been simplified to black and white brush and paint drawings. Throughout this exhibition the branding has been kept quite bold and simple which references the aesthetic of the simplified drawings featured within. Additional colour has been added to the branding which allows the posters and promotional material to stand out particularly within figure 1. Furthermore the incorporation of the brush stroke in figure 1 allows the poster to reference the theme of the exhibition in a subtle and effective way, as enough is reveal to create intrigue allowing for limited information to be featured within the poster.  This bold use of colour is something I plan to reference within my work for studio brief 3.

Women Fashion Power by The Beautiful Meme: figure 2
The branding for this exhibition is particularly effective due to the avoidance of gender specific colours or stereotypes within the promotional material which is achieve through the use of green. The inclusion of the tagline 'not a multiple choice' suggests the theme of the exhibition as women don't have to chose between Fashion and Power as the exhibition looks at how different women from princesses to CEOs have used fashion to enhance their position in the world. The effective simple and bold use of typography coveys a powerful statement against stereotypes towards women which effectively represents the tone of the exhibition which features a wide range of styles. Additionally due to the significant range of fashions styles featured within the exhibition by Zaha Hadid the branding needed to avoid resonating with a specific style which has been achieved through the simple use of typography and colour.

Under the Same Sun by OK-RM:
Celebrates contemporary Latin American art, representing the second phase of the Guggenheim UBS MAP Global Art Initiative as curated by Pablo León de la Barra. The visual identity effectively celebrates Latin American art due to the vibrant use of colour which is a key aspect of the identity along with the repetition of the name (see figure 3). What makes this identity successful is its interaction with London as a city through the use of murals featuring the colours and shapes to represent the exhibition throughout the city which communicates the vibrant and energetic nature of Latin American culture. This interaction is possible due to the use of simple shapes and colour to convey the themes of the exhibition as these are easily adaptable across multiple applications. The consistent use of colour and shapes creates a visually strong identity which is easily recognisable in different contexts whether the name is present or not as seen in the use of murals across London (see figure 4). In addition the repetition of the name creates a strong and lasting impression on the audience creating a desire to see the exhibition which is heightened through the use of bright colours and the multifaceted identity. Throughout the promotional material there are multiple different posters featuring different colours however the layout and use of shapes within each relate back to the exhibition further showing the strength of this identity (see figure 5).

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Studio Brief 3: Colour Developments

To further develop our branding we've experimented with the use of colour initially looking at taking colours from the Leeds Collage of Art mosaic (see figure 1 and 2)  and brightening some as certain colours where quite dull and would fail out stand out in a city against other promotional material. However after receiving feedback based on these colours we found that using colours taken from the mosaic made the branding look too similar to LCA as the exhibition need to be separate and stand out on its own. Consequently we moved away from this idea and focused more on choosing a colour that would allow the branding to stand out within the city which lead to the choice of International Klein Blue as due to its bright nature would allow the branding to stand out (see figure 3). Further more the use of IKB and white within the branding allows the branding to be simple and clean cut whilst still standing out as previous experimentations incorporating additional colours (see figure 2) created branding which was too busy and hectic creating an unprofessional impression on the audience.

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Studio Brief 3: Logo development

In order to generate some initial ideas we decided as a group to each create some ideas for branding which we would gain feedback on and use the most successful idea. Therefor I've experimented with use of typography based on decisions made as a group (see figure 1) focusing on Univers Light and Caslon. These initial typographic experimentations lead to looking at the pronunciation of our name Raum and looking at how best to visually represents this (see figure 2) as it can be quite difficult to read and pronounce. Consequently splitting the word allows the name to be more easily understood by our audience. Throughout these experimentations I've looked at different methods of representing pronunciation through lines and dots finding a simple straight line dividing the word is most successful due to its simplicity. The use of altering the hierarchy of the of the two sections (see figure 3) of the word further aid in readability as they enhance the sectioning of the word making it easier to read.

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Studio Brief 3: Initial catalogue experimentations

In order to further develop the branding for this exhibition I've experimented with the use of the logo in relation to the catalogue cover in order to gain a better visual representation of the branding as a whole. Initial experimenting using colour within the marber grid to highlight the logo and effectively separate information (see figure 1). This experimentation works well to separate and highlight the logo but creates a dull and uninteresting cover which fails to engage or excite an audience. To further these experimentation I moved away from using the marber grid and focused more on the logo itself to see how it could be manipulated into the cover. This lead to experimentations focused on repeating the logo in order to create a more abstract cover instead of sticking to traditional layout methods such as the marber grid (see figure 2). Consequently the most successful initial experimentation is figure 3 as it keeps the design simple and legible as with other experimentation if the logo became illegible and appeared lost due the either the direction or number of times repeated. In addition I've also experimented with what information could feature on the back (see figure 4) of the catalogue such as the dates of the events featured within the exhibition by year or the the address of the exhibition. I feel the use of the dates is more appropriate as it effectively references the exhibition whereas the address isn't necessarily relevant as the catalogues will be given out at the event itself.  Throughout these experimentations I also explored the use of simple shapes such as triangle and circles (see figure 5) within the cover to create a more abstract cover. However these are less successful than the use of repeating the logo. In relation to the colours used within the experimentations I chose quite muted and neutral colours due to the wide variety of colours within the prints within the exhibition. However these colours will change as we develop ideas as a group and those featured don't accuratly represent the exhibition.

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Studio Brief 3 Research: 3rd year degree show branding presentation

Charles Worrall & Isla Pearce presented their proposal for the end of year degree show. 

Initially they spoke about what was important: 

- expressing  creativity in an initiative way, 

- showing hard work, talent within a strong visual identity 

- research previous LCA exhibitions 

- must represent uni as whole 

Initial Ideas:
-used photography and clean type however need to be more visual creative 

- In the Works- represent each subject area which was represent by an object for each 

looking a process, always learning and growing

- Needed to be clear and reflect college as a whole

However after receiving feedback found the use of an object per each subject too complicated. Therefore needed to look at representing college and university life in more conceptual way. This lead to further experimentations using objects which didn't work in end as difficult due to scale needed to make successful use of objects.

Looked at College values:

Student centred

creative communites 

critialc thinking 

professional and progressive people

Final Idea need to:

eye-catch and conveys creativity due to colours and object

Eye lead down to bottom to information 

Colours could compete outside uni

Drivied from college values and guide lines

COntrast from pevious branding as still clean but got an edge due to colours used and subjective nature as not all may get the multidisiplinary approach however creates intregue 

Works deu to underpinning concept 

Tips/helpful things to consider: 

- Talk about why used colours typeface etc. 

- Importance of mock ups to further show idea 

- Variations across branding use of singular objects of flyers

- Brick folly good example of application and thought about how would work with different objects due to the strong identity create through the use of neon hands 

Studio Brief 2: Idea Generation

Typography:
In order to develop initial ideas I've experimented with typography that could be featured within the print by looking at the typography used by the suffragettes in protests and other material. In relation to those featured on protests signs many feature tall letterforms with high cross-bars and a narrow appearance. Initially I tried to recreate the exact typeface used on protests by drawing around the letterforms in figure 1 however this provided difficult and limited the use of typography within the print. This lead to experimenting with more modern typefaces (see figure 2) such as Futura, Helvetica, Berthold, Univers, PT Sans, and Bebas Neue to see which was most accurate. This lead to the use of Bebas Neue as this closely resembles the typography used by the suffragette allowing the past to be referenced within the print in a more contemporary nature. Additional experimentation's using string and a metal grid (see figure 3-4) created some interesting initial experimentations but was limited when developed digitally (see figure 5). These limitations such as some letterforms such as 'O' and 'D' appearing the same due to the grid formation also lead to the use of an existing typeface within experimentations.

Counter Compositional:
Counter Compositional looks at what is part of the object. This has helped further initial ideas by questioning what makes up a poster/print in order to see how best to engage and interact with the audience. Consequently this lead to the use of a 3-D aspect within some initial ideas by looking at the ability to fold or tear away a section of the poster such as 'men only' to reveal a hidden message or symbol (see figure 6). This idea draws on the secrecy the Suffragettes had to use in order to plan and carry out marches and protests. Furthermore the use of this technique lead to questioning what needs to be on the poster to see how else to engage the audience. This lead to the development of getting people write onto the prints what women still have to achieve in modern society (see figure 7). This involvement could then be printed onto the print of be left to be filled in.

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Penguin: cover in realtion to exhisiting

The final design produced for In Cold Blood (see figure 1) takes a more conceptual look at the book than existing covers by questioning the investigation and those involved. Existing covers tend to favour a more objective approach with use obvious imagery and texture typography (see figure 2-3). In addition the subtle use of red within the cover to create a contrast against the list allows the violence to be briefly addressed however not exaggerated as seen in existing covers. This use of more subtle colours creates a contemporary and sophisticated cover when compare with existing covers seen in figures 2 which feature a more illustrative approach. The cover produced for this brief looks at the originally cover seen in figure 3 and draws inspiration from the simple composition which avoids obvious imagery.

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Studio Brief 2: Screen Printing

In order to produce my A3 print based on the suffragette riot i've used screen printing, which I found difficult during both the preparation and printing process causing some errors in the early stages of printing. 

Firstly I started by stripping a screen which proved difficult as the design on my screen had stained the screen making it difficult to determined when the the screen was sufficiently clean. Once the screen had been striped I left it to dry and then applied the light sensitive emulation which was left overnight to dry. The next day I prepared my design by apply halftones to my black and white image using photoshop. Initially this was difficult due to the original image I'd used however by using channels within illustrator I could effectively edit the grey within the image so when printed the definition of the face and hair within the image would be clearly visible. Once exposed the excess emulsion needed to be wash off to reveal the exposed design, I then left my screen to dry before printing. 

In regards to the printing processes I first started by printing the image of Leonora Cohen using purple ink to represent the suffragettes. I found this layer particularly difficult as it was hard to apply equal pressure across the whole image which resulted in fading at the bottom as I couldn't apply enough pressure to push the ink through the screen (see figure 1 and 2). However as I got used to printing I managed to produce some successful, even prints. Once the first layer was dried I moved onto adding the text layer using green to create a contrast against the purple and keep in line with using the colour of the suffragette flag. The difficult part of this layer was lining the text up equal around the sides of the print as well as lining the text up with the tick list, causing some sections of the text to be cut off on certain prints (see figure 3). Throughout the printing processes I experimented with different paper including cartridge paper and card to create a crisp print so the image wouldn't be distorted. However I also experimented with newsprint to reflect the newsletter/paper the Suffragettes used to produce. The newsprint and white card produced the most successful prints (see figures 4 and 5). 

Overall I'm pleased with the final prints however due to an unseen mark in the screen theres a slight mark of green on Leonora Cohens face which if I had more time I would reprint and correct. Despite the issues during the printing process I found experimenting with screen printing and a method I would like to experiment with further in future in order to perfect the technique especially when pushing ink through the screen. 

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Studio Brief 2: Colours of the Suffragettes

In order to inform my design decisions I've looked a colours associated with the suffragettes and there meaning which according to an article (see figure 1and 2) by the Guardian the colours of the suffragette flag each had there own meaning, purple for loyalty and dignity, green for hope and white for purity. It was important to the suffragettes to be well presented at all times and members where encourages to wear these colours with Liberty selling tricoloured stripped ribbon for hats, belts and badges as well as clothing items featuring these colours such as slippers, underwear, shoes and handbags. Consequently I've decided to incorporate these colours within my design which will be colour picked from figure 3 in order to effectively represent the Suffragette movement.

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Studio Brief 2: Collage experimentation

In order to further my initial research I've experimented with collage using found imagery based on women's rights which I've further developed into a giff (see fig 1). These collages are all centred around the chaotic nature of the Suffragette riot in 1908 by placing the word riot into different and sometimes contradictory situations to highlight issues women face and the need for action. This experimentation using collage had allowed me to explore typography within my work which needs further development and research in order to better reflect the suffragette movement and the riot.

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In addition I've also looked at words related to the suffragette movement (see figures 2-5) and riots in general in order to gain a better perspective on the emotions involved and how I can incorporate those into my work. I think these experimentations our successful as they reference the riot and movement more subtly and with a more abstract approach. This can be seen through the use of colour within the backgrounds instead on imagery as the typography is highlighted giving more weighting to the words featured within the collage. In order to further develop my typography experimentations I will experiment digitally with different typefaces that reflect eh Suffragette movement from the 1900s.

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Studio Brief 2: Printing Techniques available in 1908

Intaglio:

Method of printing by which an image is engraved into a plate (zine/copper) which is then covered in a thick layer of ink and rubbed with a tarlatan clothe to remove the excess. The final wipe is sometime done using newspaper so ink is only left in the creases.Then damp paper is placed on top and run through a printing press.

Lithography 1796:
Method of printing that uses chemical processors to create an image. The positive uses a hydrophobic chemical while the negative image is water, when the plate is introduced to the compatible ink the ink will adhere to the positive image and the water will clean the negative image. The flat printing nature of this process allowed for longer runs per printing plate. 

Offset Lithography:
Depending on the photographic processes flexible aluminium, polyester or paper printing plates can be used as the photographic negative is placed in contact with emulsion and developed using UV light. 

Colour Printing:

chromolithography was one of the most successful colour printing methods which involves multiple lithographic stones and is extremely expensive as a stone is require for each colour. Cost can be minimised by simplifying the colours used and the detail within the image itself. The printing process itself is based on the rejection of grease by water as the image is applied to stone, zinc or aluminium surfaces with a grease based crayon or ink. The image is then gummed up with a gum acid solution and weak nitrate acid to desensitise the surface so an oil based ink can be used ot print the image using a flat bed press.

Offset Printing 1870:
Printing method in which an inked image is transferred from plate to rubber blanket and then to a printing surface. Offset printing can be used in combination with the lithographic processes. 

Screen Printing 1910:

Modern printing method which was first patented in 1907. Its a processes by which mess is used to transfer ink onto a substrate, a squeegee is then moved across the screen to fill the mesh apertures with ink. This contact with the substrate allows the ink to wet the substrate causing a print to form. Its a processes which requires an image to be exposed onto the screen using light reactive emulsion which once exposed leaves the design which can then be printed.   

After researching different printing methods which would of been available at the time of the riot in 1908 I've decided to focus on screen printing as earlier methods would limit my design making it difficult to produce due to the facilities available. Additionally screen printing will provide a clean and clear print in order to create a more powerful impact on my audience that more primitive methods. 

Studio Brief 3: Logo/Identity Feedback

Upon receiving feedback on our initial logo ideas many found that the use of pink and blue (see figure 1) was too closely related to LCA as a brand itself and didn't create an individual identity enough. In addition brightening the colours from the mosaic contradicted the reason behind taking the colour form the mosaic. Furthermore this close association with LCA was also found to be the case in relation to the use of the shape of the LCA logo within the wayfinding. Consequently as a group we've decided to not incorporate the use of shapes within the designs and to just keep the simple line from the logo as a consistent theme throughout the branding alongside the use of the logo.  The main problem with this crit is that we failed to fully explain our design decisions within our rationale which lead to some confusion regarding the name Raum which is the German translation for space. We chose this as the first printing press was designed by Johannes Gutenberg from Germany. In addition some said the line within the logo had no relevance however it is used to split up the word based on the pronunciation in order to make it more easily understood.

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Consequently after discussing this feedback as a group we decided to look at other reasons for the use of colour within our designs and decided the main factor influencing our decision was the need to use bright colours to allow the branding to stand out in public settings. Therefore deciding to use International Klien Blue and white across all branding to allow the branding to stand out and create a consistent brand identity (see figure 3 and 4).  In addition it was suggested that we could experiment with using a sans serif typeface which we plan to do however we feel the use of a serif typeface relates to the traditional nature of the print exhibition.

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Studio Brief 3: Initial Ideas Group Feedback

In order to further develop our ideas we've received feedback based on everyones initial ideas in order to finalise a continuous theme to create a constant brand identity (see figure 1). Consequently it was found the split up version of Raum based on the pronunciation of the word as this allowed the title to be more easily understood (see figure 2). In addition the line between within the word-mark logo would act as the constant theme within the branding linking to the timeline within the wayfinding system. However the use of placing text on the floor within the wayfinding system (see figure 3) was found to be unsuccessful due to the small nature of the space and the amount of people who may attend. In relation to other branding may said it would be effective to incorporate a folded/3-d aspect within the posters (see figure 4) or within the invites.  The use if the college logo within figure 4 was also successful due to the cut out nature reflecting the printing process however needs to be developed to fit within the branding. Although the logotype was successful the colours see figure 2) need to be improved in order to stand out within the city to draw attention to the exhibition. In addition it was suggested that a colour could represent a specific time period in a similar way to the experimentations splitting the exhibition by date within the wayfinding and catalogue (see figures 5 and 6). Finally the experimentations using gifs (see figure 7-9) for the social media works well as they reference the space within the library as a more abstract representation of the exhibition which could be used within the build up to the exhibition as a form of countdown.

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