Blog marry Avoid :

• ARTISIST I HAVE FOUND INSPIRING FROM OTHER CLASS MATES
• http://www.laszlito.com/
• http://www.nadiaflower.com/
• http://www.hollisbrownthornton.com/
• http://www.leonardoflores.com/
• http://www.miraruido.com/
• http://www.lucyjoyoldfield.com/
• http://www.mareikeengelke.de/
• http://www.julienpacaud.com/
• http://www.handsomefrank.com/
• http://takeiteasyplease.com/
• http://www.synergyart.co.uk/
• http://www.mammothandcompany.com/
• http://eloiserapp.prosite.com/
• http://www.eduardorecife.com/
• http://www.hervedieudonne.com/

MALE designer:

MARIO WAGNER:

IMAGES FROM: WWW.MARIOWAGNER.COM

Mario Wagner was born in 1974 and works as an artist and illustrator in San Francisco/USA and Cologne/Germany. His unique illustrations and artworks are commissioned by the most popular magazines like Playboy and the New York Times Magazine or clients like Adidas or Cheerios. Wagner’s work is made analog, he uses old magazines, scissor, glue and acrylcolor, even for his about 6,5 feet large artworks. His work was already shown in numerous german and international exhibitions including the SCOPE.

FEMALE DEISGNER:

Deborah Sussman: Urban Legend

Art director and environmental graphic designer Deborah Sussman has been creating legendary work for public spaces for decades. Deborah and her firm, Sussman/Prejza, have done interior and exterior wayfinding and signage systems for Apple, Hasbro, the city of Los Angeles, and numerous others. She may be most famous for her comprehensive graphics program for the 1984 Summer Olympics. She has a keen eye for both client and community needs, creating work that is imaginative, spare, and crystal clear.

COMPANY:

STUDIO8 DESIGN:

We are an independent graphic design studio with a reputation for delivering intelligent and engaging creative solutions.

Matt Willey and Zoë Bather set up the studio in 2005 and have since worked with clients both large and small, in the UK and overseas, gaining a number of awards along the way.

We produce a diverse range of work across multiple disciplines that includes editorial, exhibition, signage, corporate literature, websites, and brand identities.

We’d like to think we bring a lot of knowledge and enthusiasm to every new project, so if you would like to discuss a potential brief pleaseget in touch.

“Studio8 were critical in producing the two Wonders titles on a mad schedule, with fantastic creative input, to produce the two bestselling science books in the last twelve months. They were a delight to work with.”
Myles Archibald, Associate Publisher, Harpercollins

“They’ve certainly distinguished themselves, not just through the quality of their work, but also through their attitude. Their intelligence is self-evident in the work.”
Angus Hyland, Pentagram Partner & Creative Director of Laurence King Publishing

“My brief was challenging: come up with a brand for me, rather than for a product or company. I wanted something that was clearly linked with my profession, but to be subtle rather than showy. What Studio8 came up with far exceeded my expectations and they were an absolute pleasure to work with throughout. I can’t recommend them highly enough.”
Ben Saunders, Polar Explorer

“When we conducted our global search for a design company to art direct the launch of 80 city magazines, we chose Studio8 because it was very clear – among the many contenders – that they were the most talented design house. Now, three years later, I don’t know what I’d do without them. Everyday, we get comments on how amazing SHOP looks. As editor-in-chief, I’d love to take credit but truth is: it’s all Studio8.”
Emma Cheevers, Editor-in-Chief, SHOP Magazine

“It’s always a pleasure working with Matt and Studio8. Over a couple of years we’ve worked on numerous typographic projects including a cover. Tight, creative and thoroughly modern work.”
Andrew Diprose, Art Director, Wired Magazine

“Matt Willey is one of the most talented and versatile creatives working in the business today. He gives 125% to whatever project he is involved with and it shows. I speak from experience as he was an integral part of our redesign team for The New York Times Magazine.”
Arem Duplessis, Design Director, New York Times Magazine

“In the past few years I have worked with Matt Willey on number of projects and that relationship has been productive, inspiring and rewarding. I thought we got great results and had a good time while going about it. Thinking about his designs,
I see them as warm, intelligent, and responsive to both content and context. They also have
a way of throwing one off balance with nothing but style.”
Marc Valli, Owner, Magma Books & Editor, Elephant Magazine

CRIT? WHAT IS A CRIT?

WHAT IS A CRIT? 

A crit s a form of assessment taken by other people about your work, it is a chance to gather feedback and for the people asseing it allows you to put your opinions across about a piece of design. It will help you to improve and highlights questions that can be asked. CONSTRUCTIVE CRITSIM IS HELPFUL // ADVICE // CLEAR // FORMAL. We crit because it allows you to grow as a person and to make sure that you are progressing. It gives you chances to improve and makes sure that you work to your full potential. 

5 CRIT QUESTIONS THAT WOULD BE USEFUL:

- Is the conetn relavenat?

- How was it made, is it clear?

- How has design devlopedment effected the final outcome?

- Is the design made to a good extent?

- hoW WAS IT MADE?

Media Specificity Lecture Notes

The media specificity lecture looked into media/ medium and how the use of that media can be pushed to new ground or how it limits it's purpose;

• The use of powerpoint encourages users to create short, brief and incomplete slides.
• Humans design products that extend our natural capabilities. Such as glasses, telescopes, hearing aids and inventions that improve smell and touch. Development in technology allows this.

• "•Medium specificity is the view that the media associated with a given art form (both its material components and the processes by which they are exploited)  entail specific possibilities for and constraints on representation and expression, and this provides a normative framework for what artists working in that art form ought to attempt"Noël Carroll 2008
• 
  
• An artwork, in order to be successful, needs to adhere to the specific stylistic properties of its own medium.

•   “Gotthold Ephraim Lessing 1776
    Medium/media specificity is a term used in aesthetics and art criticism.
    It is most closely associated with modernism, but it predates it. According to Clement Greenberg,, medium specificity holds that "the unique and proper area of competence" for a form of art corresponds with the ability of an artist to manipulate those features that are "unique to the nature" of a particular medium.
    Medium specificity and media specific analysis are ways to identify new media art forms, such as Internet art.
• •If we are defined by our physical and mental limitations,
    by extending these we change the definition of ourselves.
   
• New media and new technology shapes the way we think, communicate and live our live

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A History of Type Lecture

This Lecture is based on type issue, here is the handout we got given which features the diffenrt sections of a type letterform: 

Ascender The part of lowercase letters that extend above the median in b, d, f, h, k, l, t.  See Descender.

Black slant Type posture that slants to the left.  Compare to Italic, which slants to the right.  Uncommon and difficult to read in any but extremely short segments.

Blackletter Heavy, angular types based on medieval script writing.  The first metal type in Europe, and that used by Gutenberg.  The five categories of blackletter are Bastarda, Fraktur, Quadrata, Totunda and Textura.

Contrast, typographic The amount of variation between thick and thin strokes of a letter Helvetica has little contrast, Bodoni has high contrast.

Descender The part of lowercase letter that extends below the baseline in g, j, p, q, y.  See Ascender.

Egyptian A group of display types with slab serifs.  So named because the types’ popularity coincided with a mania for ancient Egyptian discoveries in the 1830s.

Family A group of typefaces derived from the same typeface design.  Usually includes roman, italic, and bold versions.  May include small caps, old style figures, expanded, condensed, and inline versions.

Flush A typographic term meaning aligned or even.  Type can be set flush left (even on the left and ragged on the right); flush right (even on the right and ragged on the left); or flush left and right (more properly called justified).

Grotesque or Grotesk A class of sans serif.  So called because it was considered ugly when it was introduced in the mid-1800s.  URW Grotesque and Franklin Gothic are examples of grotesque faces.

Gutenberg, Johannes Inventor of movable type in 1450.  His 42-line Bible of 1455 was the first book to be produced with his technology.  It looked like the handwritten books of the time, but could be duplicated in quantities and speeds never before achieved.

Humanist A class of sans serif that looks a bit like handwriting, or at least don’t look too mechanical or geometric.  Identifiable by having a humanist axis, or angled emphasis related to handwriting.  Examples include Formata and Syntax.

Kern (noun) The part of the letter that extends into the space of another.  In metal type, this had to be hand filed on each letter.

Kern (verb) Removing space between specific letter pairs in order to achieve optically consistent letterspacing.  See Tracking.

Neo-grotesque A class of sans serif faces designed since 1945, including Helvetica and Univers.

Old Style Type originating in the 15th and 16th centuries.  There are two classes of Old Style types: Geralde and Venetian, both characterized by diagonal stress and bracketed serifs.  Examples are Caslon and Garamond.

Point size The size of a typeface measured from just above the top of the ascenders to just beneath the bottom of the descenders.  Invented in 1737 by Pierre Fournier le Jeune.  Also called Body size and Type size.

Ragged Type that is set with one edge rough: flush left/ragged right or flush right/ragged left.  There are two kinds of ragged: rough rag, in which hyphenation is either set to a wide measure or is not used; and smooth rag, in which the hyphenation zone is set to less than a pica.  Ragged left type is difficult to read beyond three lines.

Sans serif From the Latin “without serifs.”  Type without cross strokes at the ends of their limbs.  Usually have consistent stroke weight.  There are four classes of sans serif types; Grotesque/Gothic, Geometric, Neo-Grotesque, and Humanist.

Script Type, typically joined, designed to imitate handwriting.  The four classes of script type are Black-letter/Lombardic, Calligraphic, Formal, and Casual.

Serif A small terminal at the end of an stroke or arm of a letterform.

Serif, bracketed A serif where the area between the stroke and serif has been filled in with a curved triangle.

Transitional Serif types developed in the late 18th century.  They evolved between Old Face and Modern and share characteristics of both of these styles.  Examples are Baskerville and Ehrhardt.

Word space Space between words.  Proportional to letterspacing: if one is open, both must be open.  “Correct” word spacing is invisible;  just enough to separate words but not enough to break a line of type into chunks.  The lowercase i can be used as a guide for approximate spacing.

X-height The distance from the baseline to the median in lowercase letters.  So named because it is the height of a lowercase x, which has neither an ascender nor descender.

Typogrpahy includes meta-communcation // paralinguistics // kinesics

There is many forms of type some old and new, the forms differ and can be section into these:

Humanist/Old Style/Traditional/Modern/Slab Serif or Egyptian/Sans Serif

Printing was a form in which type and letterforms could be created the Gutenberg press was made in 1450 and it presents movable type. 

- TRAJAN'S COLUMN 113AD (uppercase)

- GUTENBERG GOTHIC SCRIPT 1450 (lowercase)

HUMANIST TYPEFACE

• - NICOLAS JENSON, circa 1475
• - easier to read, more modern for this time
• - characteristics = very little difference between main and secondary strokes

Old style fonts include: - first italic font invented

- GARAMOND, different spacing, 'e' not upturned

- type becomes an art

- NEW OLD STYLE = Palatino, Perpetua, Goudy Old Style = first Roman fonts

- Renaissance style, sophistication

- Venice

8. SLAB/EGYPTIAN 1800s

- designed to command attention

- rules of hierarchy broken

- confusing but noticeable

- FAT FACE FONTS = bodoni on steroids

- TYPEWRITER

SANS SERIF 1896

- BERTHOLD TYPE FOUNDRY, GROTESK, simple, stripped down, function over form, everything else is secondary

- popularised, font of the modernists

- GILL SANA 1926 = penguin books, public info signs

Film Theory Lecture Notes:

Film theory Images and info from Presentation:
An AUTUER is the director of the film and is french for author. The chairs du cinema are like artists then have creative control and delop original work though personal film language. The Autuer theory was in 1962 and developed technical competencies. Hitchcock was based in Europe and the use and was an innovator and a master of suspense. He was inspired by avant grade but his films developed into mainstream. Technical competence through expressionist lighting and visual story telling were main selling points. he used a dolly zoom and subjective camera angles which enhanced and developed supense He also used montage and quick paced cutting elements to do the same. The personality is expressionistic and entails a story telling response that evokes emotion. He always used certain  characters (Cary Grant, James Stewart, Tippi Hedren, Doris Day, Joan Fontaine) and his use of blondes was also used as virginal firgid to create even more response and so that danger is there. 

- SURREALISM

- collab with Salvador Dali

- DONALD SPOTO

- birds eye view

- FEARS

- small kids

- policemen

- high places

- that his next film won't be as good as his last.