Wednesday, August 19, 2009
I Was Thinking about doing my “major report” on an artist/graphic designer that I have found intreging for some time. He goes by the name of ”soopkichn “. His work is very distinct and individual and quite ground braking. The fact that he spells his name “soopkichn” instead of the traditional way “soup kitchen” lets one know that he does not take him self to seriously. In fact the fact that he is called “soopkichn” in the first place should let one know that he is a bit of a laraken. I really like graphic/art work that is quirky and weird and makes you look at it and sort of wonder. Its kind of surreal work that he does and really abstract. He has his own website www.soopkichn.com so go to it and check it out it will blow your mind . The fact that he studied here at Kingscliff further intruiges me so yer “soopkichn” he is great ……..so yer give us some feed back....he also owns his own company or so i'm leed to believe and does skateboards and has a skate team...
blog 2. typography
Typography for mobile phone devices: The design of the QUALCOMM Sans font Family.
In 2004 Punchcut worked with QUALCOMM to develop a typographic strategy with respect to QUALCOMM’s custom user interfaces within its mobile operating system and applications. The first tangible expression was the design of a custom family of sans serif fonts to e used in current and future QUALCOMM mobile user interfaces.
Up until this project QUALCOMM had not formally evaluated a forward-thinking font or typographic strategy with respect to user interfaces within its mobile operating system. QUALCOMM understood that font usage issues were becoming more critical to delivering an effective and appealing user experience.
The primary brand goal was to provide QUALCOMM with a font family that was distinct from its competitors, thereby enhancing the company’s position as a thought leader in the mobile phone UI space.
Once the H and O were designed, repetitive text settings were composed in different widths and sizes to explore how to design a bold weight that maintained the same width as the regular.
Punchcut is working with QUALCOMM to extrapolate outline-based truetype font files for use on the mobile device. This will allow a much ricer experience as the natural jagginess of the pixilated curves is replaced.
Screen resolution is getting higher and expectations are rising. There are still yet a number of typographic sensitivities that can be brought to the mobile device that will only serve to enrich the user experience such as italics, short caps, expert glyphs, embedded symbols etc.
http://www.aiga.org/content.cfm/typography-for-mobile-phone-devices-the-design-of-the-qualcomm-s
In 2004 Punchcut worked with QUALCOMM to develop a typographic strategy with respect to QUALCOMM’s custom user interfaces within its mobile operating system and applications. The first tangible expression was the design of a custom family of sans serif fonts to e used in current and future QUALCOMM mobile user interfaces.
Up until this project QUALCOMM had not formally evaluated a forward-thinking font or typographic strategy with respect to user interfaces within its mobile operating system. QUALCOMM understood that font usage issues were becoming more critical to delivering an effective and appealing user experience.
The primary brand goal was to provide QUALCOMM with a font family that was distinct from its competitors, thereby enhancing the company’s position as a thought leader in the mobile phone UI space.
Once the H and O were designed, repetitive text settings were composed in different widths and sizes to explore how to design a bold weight that maintained the same width as the regular.
Punchcut is working with QUALCOMM to extrapolate outline-based truetype font files for use on the mobile device. This will allow a much ricer experience as the natural jagginess of the pixilated curves is replaced.
Screen resolution is getting higher and expectations are rising. There are still yet a number of typographic sensitivities that can be brought to the mobile device that will only serve to enrich the user experience such as italics, short caps, expert glyphs, embedded symbols etc.
http://www.aiga.org/content.cfm/typography-for-mobile-phone-devices-the-design-of-the-qualcomm-s
Monday, August 17, 2009
luke post 2 - littlebigplanet game design.
LittleBigPlanet, is a video game for the PlayStation 3 It is developed by Media Molecule, a British company founded in part by Rag Doll Kung Fu creator Mark Healey, and published by Sony Computer Entertainment Europe.
Many saw the game as an important title for Sony's PlayStation 3. The game received an overwhelmingly positive reaction from critics and has been praised for its presentation, including its graphics, physics and audio, along with its game play and large array of customisable and online features. Additional praise was given to its scope and future potential based on user-created content and level creation facilities.
The player may customise their character in a range of ways. They are able to select a base colour and texture for their character from a range of materials and designs along with giving them pre-made items including clothes, masks, swords and capes
Although the create aspect does include minor tweaks to existing levels whilst they are being played, such as placing stickers and decorations in levels, the main focus of this mode is the level editor. The editor incorporates a large number of editing facilities to create levels from a low to a high degree of complexity. The player may create new objects by starting with a number of basic shapes, such as circles, stars and squares, and then painting a shape into the level using one of the many materials. Objects may be glued to each other or to the level. More mechanical features are also available, such as connecting objects together with string, using bolts to spin objects, or using various kinds of triggers.
Even though it is just a video game it gives you that feeling of creating and designing while sitting down with a controller. I loved the artwork and design in the game. The characters and the game had a unique visual presentation.
Many saw the game as an important title for Sony's PlayStation 3. The game received an overwhelmingly positive reaction from critics and has been praised for its presentation, including its graphics, physics and audio, along with its game play and large array of customisable and online features. Additional praise was given to its scope and future potential based on user-created content and level creation facilities.
The player may customise their character in a range of ways. They are able to select a base colour and texture for their character from a range of materials and designs along with giving them pre-made items including clothes, masks, swords and capes
Although the create aspect does include minor tweaks to existing levels whilst they are being played, such as placing stickers and decorations in levels, the main focus of this mode is the level editor. The editor incorporates a large number of editing facilities to create levels from a low to a high degree of complexity. The player may create new objects by starting with a number of basic shapes, such as circles, stars and squares, and then painting a shape into the level using one of the many materials. Objects may be glued to each other or to the level. More mechanical features are also available, such as connecting objects together with string, using bolts to spin objects, or using various kinds of triggers.
Even though it is just a video game it gives you that feeling of creating and designing while sitting down with a controller. I loved the artwork and design in the game. The characters and the game had a unique visual presentation.
Thursday, August 13, 2009
Post 3 Infographics- Rita Masarin
Today information graphics surround us. They illustrate information that would be difficult in text form, and act as visual shorthand for everyday concepts such as stop and go.
It is used heavily in children's books and are also common in scientific literature, where they illustrate physical systems, especially ones that cannot be photographed (such as cutaway diagrams, astronomical diagrams, and images of microscopic or sub-microscopic systems).
Modern maps, especially route maps for transit systems, use infographic techniques to integrate a variety of information, such as the conceptual layout of the transit network, transfer points, and local landmarks.
Traffic signs and other public signs rely heavily on information graphics, icons and emblems to represent concepts such as caution and the direction of traffic.
I believe infographics, especially in advertising are some of the most challenging types of art, as they must simultaneously serve two completely different purposes.
First the designer must be able to generate a concept and have a strong graphical impact. Second, you have to accurately display the information in a way that is logical, as well as fits with the overall design
I think the use of imagery to convey data can be very compelling. It draws viewers in and taps into their creative side.
The root source of the info is still the most important but this can really amplify data for those who are more visual-learners like me.
http://abduzeedo.com/beauty-infographics-and-data-visualization
http://www.joezeff.com/web/html/home.html
.dalydesign.co.uk/info-graphics.php
Wednesday, August 12, 2009
KINETIC TYPOGRAPHY
KINETIC ANIMATED MOVING PERSONIFIED CHARACTER MOVEMENT EXPRESSION
Kinetic typography—the technical name for "moving text"....
Kinetic typography refers to the art and technique of expression with animated text. Similar to the study of traditional typography of designing static typographic forms, kinetic typography focuses on understanding the effect time has on the expression of text. Kinetic typography has demonstrated the ability to add significant emotive content and appeal to expressive text, allowing some of the qualities normally found in film and the spoken word to be added to static text.
Kinetic typography—the technical name for "moving text"....
Kinetic typography refers to the art and technique of expression with animated text. Similar to the study of traditional typography of designing static typographic forms, kinetic typography focuses on understanding the effect time has on the expression of text. Kinetic typography has demonstrated the ability to add significant emotive content and appeal to expressive text, allowing some of the qualities normally found in film and the spoken word to be added to static text.
Kinetic typography refers to an expression of text that transforms itself in time and space, it can add a sense of emotion to various print and digital media.
Kinetic type has been widely and successfully used in film as well as in television and computer-based advertising. Perceptual psychology research on attention, reading performance, and comprehension has indicated that time-based presentation of text can be used effectively to capture and manipulate a viewer’s attention and in some cases improve overall reading performance.
It is distinct from other forms of temporal typography including 'serial presentation', which involves the sequential presentation of still typographic compositions. Temporal typography divides kinetic typography into 'motion typography' (subdivided into 'scrolling typography', 'dynamic layout') and 'fluid typography'. In dynamic layout, text elements move in relation to one another. In fluid typography, letterforms change and evolve without necessarily changing location.
With the advent of film and graphic animation, the possibility of matching text and motion emerged.
Early feature films contained temporal typography, but this was largely static text, presented sequentially and subjected to cinematic transitions. It was not until the 1960s when opening titles began to feature typography that was truly kinetic. Scholars recognize the first feature film to extensively use kinetic typography as Alfred Hitchcock's North by Northwest (1959). This film's opening title sequence—created by Saul Bass—contained animated text, featuring credits that "flew" in from off-screen, and finally faded out into the film itself. A similar technique was also employed by Bass in Psycho (1960).
Since then, the use of kinetic typography has become commonplace in film introductory titles and television advertisements.
One thing I love about movies is not the actual movies themselves but the opening/closing credits. Simply inspirational but most of all it(opening titles) creates and builds the atmosphere of the movie. It sets the mood, tone, and every literature aspects of it. Closing titles are great as well. Most producers chose the conventional scroll animation but some decided to end the movie with style and they truly did. some examples are- the kite runner, pulp fiction...
Kinetic type has been widely and successfully used in film as well as in television and computer-based advertising. Perceptual psychology research on attention, reading performance, and comprehension has indicated that time-based presentation of text can be used effectively to capture and manipulate a viewer’s attention and in some cases improve overall reading performance.
It is distinct from other forms of temporal typography including 'serial presentation', which involves the sequential presentation of still typographic compositions. Temporal typography divides kinetic typography into 'motion typography' (subdivided into 'scrolling typography', 'dynamic layout') and 'fluid typography'. In dynamic layout, text elements move in relation to one another. In fluid typography, letterforms change and evolve without necessarily changing location.
With the advent of film and graphic animation, the possibility of matching text and motion emerged.
Early feature films contained temporal typography, but this was largely static text, presented sequentially and subjected to cinematic transitions. It was not until the 1960s when opening titles began to feature typography that was truly kinetic. Scholars recognize the first feature film to extensively use kinetic typography as Alfred Hitchcock's North by Northwest (1959). This film's opening title sequence—created by Saul Bass—contained animated text, featuring credits that "flew" in from off-screen, and finally faded out into the film itself. A similar technique was also employed by Bass in Psycho (1960).
Since then, the use of kinetic typography has become commonplace in film introductory titles and television advertisements.
One thing I love about movies is not the actual movies themselves but the opening/closing credits. Simply inspirational but most of all it(opening titles) creates and builds the atmosphere of the movie. It sets the mood, tone, and every literature aspects of it. Closing titles are great as well. Most producers chose the conventional scroll animation but some decided to end the movie with style and they truly did. some examples are- the kite runner, pulp fiction...
www.marcofolio.net/.../15_stunning_motion_typography
vhttp://www.mk12.com/video-popup.html?ideo=/v5_quicktime/2003/wwft_trisect.mov&title=WWFT%3A%20TRISECT&date=&info=2003&type=inhouse
www.marcofolio.net/.../15_stunning_motion_typography
The 360 Paper Water Bottle
Created by the industrial design team of Brandimage, New York, the paper water bottle was a finalist in the eco design category of IDSA’s 2009 IDEA Awards.
Innovation and problem-solving through responsible design, Responsible design is a philosophy that equates innovation with responsibility to people and the planet while being mindful of the environment impact.
The impetus for creating positive and social change in the products and services we buy and the lifestyles we lead will require shifting generations-old paradigms. We need a continual flow of Responsible design examples to illustrate our changing principles and to set the bar higher for upgrading standards.
The 360 Paper Water Bottle is a single serve water bottle made from sustainable sheet stock such as bamboo, palm leaves ect. An internal micro-thin film provides the liquid/ air barrier and the fusing material to join the two pressed halves together. The design enables the self-bundling of multiple containers to eliminate the need for separate six pack packaging.
CHALLENGE
Each day, Americans throw out 60 million plastic bottles. Only 14% actually get recycled— meaning 86% become garbage or litter. We looked at this as a radical problem requiring an equally radical solution. Could we design a container that would leverage sustainability, be easy to transport, and enhance the consumer’s drinking experience?
SOLUTION
The 360 Paper Bottle is a sustainable vision of the future. It is the first totally recyclable paper container made from 100% renewable resources. Versatile in its range of consumer applications and made from food-safe and fully recyclable materials, it decreases energy consumed throughout the product life cycle without sacrificing functionality. It is paper packaging that stands up to all liquid categories.
http://www.brand-image.com/en/
http://www.nextbigthingaward.com/
http://www.core77.com/blog/object_culture/360_paper_bottle_11829.asp
http://www.thedieline.com/blog/2008/11/360-paper-bottl.html
http://www.greendaily.com/2008/12/01/the-360-paper-water-bottle/
Post 3 - Web Site Packaging - Robyn Rand
Musicadium needed to have embedded feeds for Flicker and Twitter as well as an RSS feed from their blog.
Musicadium relies on a range of marketing and social media tools, but the MySpace page is the most used so it is vitally important it was reliable and user friendly. It lets them share photos, journals and interests with a quickly growing network of clients/friends.With the introduction of MySpace Applications in 2008, SM2 now enables Musicadium to enhance the overall experience of their friends visit to the page.Musicadium's MySpace page also uses images and content of their SM2 developed Joomla! (a content management system which enables you to build Web sites) and Code Ignitor (an Application Development Framework) developed website to allow the use of one online storage location and multiple use of the same content in various channels.
The use of Musicadium's Twitter feed has been the most effective channel in promoting more Twitter followers and really makes the site more personable.
SM2 also worked on a site for the Recreation Training Queensland Careers portal, targeted at school leavers and accessed as an information portal for jobs in Fitness, Sport and Recreation. After consulting with the clients SM2 provided a functional and creative design for a distinct and modern portal look and feel.
I think they succeeded in keeping it functional as well as having a distinctive sport and fitness look which would be appealing to a younger audience interested in these things.
SM2 worked closely with another agency to create the Facebook group, a website and an email campaign to eliminate preventable illnesses. In less then 3 months the group had over 32000 members, showing that Facebook can be a very fast, effective medium to get a message out.
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