603 Publication

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Final Publication Design. 

[left] Poster Side [right] Brochure Side

I am very happy with this final design. It has been stripped down to basic blocks of colour and a very minimalist illustration style, (circa. 1950s atomic era design)  which I think fits the nature of this publication nicely. It is informative and legible and it is clear who the speakers are, if you were to attend the event. If I were to do this publication design again, I would love to try it laid out on a 12 panel instead of 16 panel design. 

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My new map design is now much more balanced in the colour department - the blue and orange are featuring, rather than taking over the design. Its alot easier to read the street names and work out a direction when the map has negative space around the road lines, much like a normal map. 

The design of the new map [right] links to the box on the poster side, as it has a deep rust drop shadow and dark blue outlines. 

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After feedback from my teacher [left] I have shifted around my poster design so that the reading hierarchy is in order. Now The title is bigger and you read across the page, from title, location, date then the general information following on from that. 

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Class Critique

After showing my current publication progress to the class and to my teachers, I was given some good feedback and edits to make - plus some research to do.

I looked up a typography exhibition which I attended last year, held at the Wellesley street gallery, which I enjoyed a lot. Much like my own project design, the branding for the typography exhibition used bright complimentary colours and bold text. It is good research for me seeing the way they treated colour in their posters. they have a strict rule of the space whihc each colour takes up. In the bottom poster. yellow is the main colour, then pink, then blue. I want to pull this through to my own design and even out my colours so that the poster looks more balanced. 

TDC64 Exhibition

“The Type Directors Club promotes diversity in typographic excellence through its encouragement of different languages in typography. We are proud to bring TDC64 to Auckland.” The exhibition presented over 200 works in typeface and communications design, chosen from some of the design industry’s most recognized mentors, innovators and thought-leaders.

https://www.tdc.org/event/tdc64-exhibition-at-aut-in-auckland-nz/ 

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Lastly I played around with my final text colour as read on a large poster. I asked around my family and classmates, and while they liked the look of the coloured writing from far away, they said the dark blue text is very easy to read close up when reading larger sections of text. I like the way that the dark blue surrounds the map, it makes the orange street design pop out! 

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Left Page: This was one of my first arrangements of colour blocks and text, with a placeholder map. The colour looked nice but too balanced - the orange was a bit overwhelming and I wanted the dark blue to stand out more. After a class critique session I was also reminded that my ‘Workshops’ heading did not sit in the space next to the speakers with workshops so it was confusing to a newcomer.

Right Page: I firstly fixed my text layout so that all of my heading corresponded with the correct speakers, describing general speakers and workshops. after that I shifted it to fit around my map, the new coloured statement piece of the brochure. Using two whole sections for my map was a risk as it left me with less design room surrounding it, but I solved that by leaving a good amount of negative space on all sides - balanced by the text boxes and black and white photographs. The is much more comfortable to look at and reads in a nice order. 

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~"Ions (Lorenzo Avogadro)" poster for the International Year of Chemistry, designed by Simon C. Page. 

~ Architectural poster #46. Den Blå Planet 

 ~Killstar Moonphase poster, 2019

~Space and Time Relativity Book

These 1950′s style space age posters were a great inspiration for my main poster design. I love the way that the lines are the only illustrations on most of them, but they are still visually exciting to look at. The minimalist style is what I would put on my own wall because it looks sleek and colourful without being overwhelming to the eyes. They are all illustration and typography based - which matches my typography event well.

As my poster is going on the back of a brochure and being folded up into 16 panels, a minimalist poster will look fine once flattened out and pinned up - the creases not interrupting and illustrated photographs. 

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This was the initial testing for my main poster headings - I know that I wanted to do something with ‘connectivity’ and the idea of a shadowing a piece of text but I wasn’t sure how to pull it off so that it would fit on the vertical page. so instead of using the shadow idea I just connected my letters to a point with faint orange lines. I was really inspired for the bottom and final design by some space/ atomic age posters, which use connecting lines behind their text and big poster titles.

[Image] The Human Surge poster, 2016 - I love the corner sections of lines covering the background. I tried this in my title piece and it worked well.

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I have always been a fan of Peter Saville’s artworks and designs which he makes for band album covers and other music collateral. His work for Joy Division’s ‘Unknown Pleasures’ album in 1979 was world renowned and are often still printed today on all types of merchandise. I wanted to apply this art style a little bit into my work so I took the geometric look of my own poster ideas and played around with webs and lines behind my text. I loved this style so I kept going and testing out new layouts with it. 

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From Instagram: https://www.instagram.com/swissgraphic/

Rhizom 29 @rhizom.magazin. Project magazine at the MSD, Münster School of Design. @muensterschoolofdesign,

This book cover has the perfect use of complimentary colours. It showed me how to better divide my colours so that one is more prominent than the other and makes the text stand out more. I also love the way that the lines hold focus even though they are thin, I will try this in my poster designs. 

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I designed a map using the duo-tone style and it fits perfectly into my publication. Taking a map of the AUT campus which I initially colourised using a gradient map, I used illustrator to trace over the streets. the stroke size of each street correlates to both the size of the streets on the original map, and also to the heirarchy of used streets. For visitors, Mayoral Drive and Wellesley Street are the easiest streets to find from in and outside of the city. The orange filled sections are buildings which are listed on the itinerary or well known for easy directions.

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Researching duotone design publications led me to find this mini brochure pamphlet. The colours go together perfectly and it is easily readible even from a small screen image. One thing I would like to try off this publication is their treatment of the map. It is at its most basic, simplified form through blocking out colour and minimal writing. I like how the streets are easy to identify from shape alone, however I would add a little more text for street and building names -Since the AUT uni campus is quite complicated to navigate if it is someones first time going there. 

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These were my first two poster ideas for the front side of my brochure. I like elements of the top poster however, as I was reminded by my teacher during a critique session, my colour sections are too even. Blue is is boldest colour so I need to use the 70/30 rule - 70% blue and 30% peach. for my poster design to look balanced. 

I did some research after this to refresh my mind and came across an amazing site called https://www.typographicposters.com/. It has a wide range of poster designs from all over the world. the site is sectioned by colour, country and type of poster. The colour section is the most helpful as I can view other posters with similar colours to mine and see how the designer has treated the positive and negative space, colour placement and Title sizes. 

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After working on my colour palette, I decided to play with sectioning the squares off with blocks of colour. This gave me some creative freedom to play around with colouring my headings and body copy. I tried something I hadn’t learned before and created highlighted text through paragraph rules. I love the way that the colour blocks make the headings pop out from the page while only needing one shade to differentiate background from text. 

I decided to use white text on my keynote time-table because alongside the table lines, having peach body-copy drowned out the writing too much. White writing goes nicely on the small section.

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I found this sleek brochure design on Behance. The designer James St Louis had a great eye for colour and layout, choosing where it is important to focus on just text and where it is okay to play around with coloured backgrounds and sections. I want to incorporate in my design, the way he has treated the layering of colour; bold shades overlapping each other in text and image.

It is also good to see a similar colour palette to my own being used in a professional design setting. My colours are peach and navy blue, so they will work much the same way in contrast and legibility.

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This is the layout of my brochure panels and text positioning, it leaves plenty of white space so the area is not cramped. I will fit the images in the top right-hand corner of each speaker panel.

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I have chosen the Futura family to be the main typeface on my publication design. I like that it is very bold and easy to read. The publication/ brochure that I am designing has panels which are quite small so the font I use has to be very legible at a point size of 7 to 10. Futura medium and heavy oblique are both a comfortable weight to read at all sizes, and in all colours which I am using.

Lora oblique was my secondary font originally but once I put all of my text in my document, it didn’t look right. I decided that for a brochure with so much information on it, it worked more cohesively to keep all of my text in the same font family.