FMP: Current Inspirations

To get into the "fairy-tale mood" I am going to look at a variety of inspirations; from illustrators, artists, and wedding invitations (although these invitations would be shown in a separate post). Anything that has that fairy tale feel to it really!

Amy Brown - http://www.amybrownart.com/

FMP: To-Do List

So where shall I start? I've never done wedding invitation designs before (hence why I chose to do it for my final major... Didn't want to do something that I had all the research for!) so it's going to be a bit of a challenge.

I created this diagram to brain storm everything that I knew about fairytales, starting with the word "dragons". I think I went a bit overboard but hey! I wrote whatever popped into my mind as soon as I saw that word.

I find it so much to do this because I didn't have to think, and just allowed myself to react randomly to a single word. I carried this out like that game you play when someone would say, for example "grass" and then the next person say a word that popped up when they heard "grass". I think it's just great for generating those idea cogs as well as boosting creativity.

Now that that's done I am able to write up a to-do list that I'll use as a rough guideline.

• Read some English fairytales - Brothers Grimm?
• Create mood boards of wedding invitations
• Figure out what goes on an invitation
• Wording - what do they write? How?
• What I would need to create
• Ask people what they had on their wedding invitations

FMP: The Brief & Learning Outcomes Analysis

The Brief

Unlike all of my previous projects I came up with my own brief, and so I picked out a few points that I thought were very important to achieve a successful design.

• Fairy tale themed wedding
• Wedding invitation – possibly R.S.V.P, dinner cards & directions card as well
• Consistent theme

Okay so I would definitely need to research into different fairy tales by reading books such as Grimm fairy tales, and possibly look at Disney films as well. I would also need to look at how invitations are designed, what words they used, and what I would need to include in it.

Conclusion:

This brief isn’t as demanding as my other ones although I do feel that it has a strong structure, which is helpful as it ensures that I do relevant research. I would definitely have to design a wedding invitation but I’m going to aim to do all of the other counterparts as well.

Learning Outcomes

These learning outcomes are slightly different to those of my previous projects, so I am going to analyse them further so I know exactly what I’m going to do. I shall do this by listing the bullet points from the learning outcomes and then write how I am going to overcome each point below.

• Developed their awareness of the needs and requirements of professional practice, manifested in the ability to produce practical work of good technical quality.

There is a lot of emphasis on the final product in this learning outcome, as it asks that I “produce practical work of good technical quality”. This means that I might have to spend more time creating my product as well as designing it to ensure that everything turns out alright e.g. the printing is at it’s highest quality.

For this I might take a look at paper suppliers to see if I could use a material other than Lustre (something I always use in my projects) as well as printing companies to see how much they’ll charge. This then links in with another learning outcome further on.

Announcement

I realised that in my past blog posts there have been loads of problems when I had copied and pasted from Word into Blogger in terms of type, so I had spent the whole morning finding out ways to overcome these problems and I believe I've find the solution!

However I am unable to go through my past posts to try and change it all because it's going to take way too much time, but I shall make sure that it's all okay from now on.

Sorry, followers, for the spam of all of my posts during the testing stage! It won't happen again.

FMP: Proposal

Liz Owen
University of Kent
 HND Graphic Design
Final Major Project 

Background Information 
Having got recently engaged, Sophie and Mark are now thinking about their big day, and over the next couple of weeks they had drafted a list of whom they’ll invite, booked the wedding venue, and now they’re ready to take the next step.
They have decided to have a fairytale themed wedding and need to have some invitations designed for them so reflect this theme. Each of the counterparts of the invitation has to have that consistent theme, and they are willing to spend as much as possible to have their perfect wedding.

The Brief 
I intend to design a wedding invitation, possibly including the R.S.V.P, dinner choices or directions card, which shall all be reflecting the fairytale theme.

Research and Methodology 
For this I am going to look at already existing designs to see how the information is displayed on the stationary set, including designs from Behance.net and major wedding companies. This could also include looking at wedding magazines to see what kind of packages they have to offer.

Here are some of the books, websites and magazines I intend to have a look at:
Wedding Magazine - http://www.weddingandweddingflowers.co.uk/
Brides Magazine - http://www.bridesmagazine.co.uk/
You and Your Wedding - http://www.youandyourwedding.co.uk/
B&G - http://www.brideandgroomdirect.co.uk/
Paperchain Wedding Stationary http://www.paperchainweddingstationery.co.uk/
“Stationary Design Now!” by Ed. Julius Wiedemann
“Making and Breaking The Grid” by Timothy Samara

By researching into wedding companies and magazines would help me figure out what information needs to be displayed on the invites so that I could avoid missing out important information. Wedding invitations might have a set of guidelines and if they do I would need to find out what order to put everything in.
I could also look further into the wording of the information because I know that some are done quite formally and so I don’t want mine to be too informal. I had already have a quick look at some designs and I realised that the name of the host often changes between the parents and the couple themselves, and I need to figure out why this is the case. Little details like this are important to the design.

I have also listed how-to design books, and this is to help me look further into the layout of the invitation so that the type displayed would be set out in a way that they could be easily understood by people of all ages.

I could also talk to couples that had already been married to see how they had presented their invites and how they were packaged, and what their expectations would be for an invite design. At the same time I could look at existing designs from stationary companies and design blogs to gather inspiration.

FMP Mindmap

The first thing I did after deciding that I was going to go along with the Wedding Invitations idea was to create a mind map of that topic to get some ideas going. I needed to figure out my "client" and this was the best way to go about it.

So here's my mind map:

Conclusion:
This really helped me with my proposal as well because I was able to figure out what exactly I wanted to design as I know now just how much research I would have to do (in not only by reading fairytales but figuring out how wedding invitations are designed). It was at this stage that I've also decided to go along with the idea of having a fairytale themed wedding.

Next step, my proposal!

FMP: Possible Ideas

This project will be the first that I create my own brief (aside from Design Factory where I created a brief that worked inside a brief) and because of this I spent the whole week thinking of possible project ideas.
Here are the ones that I think will have the most successful outcomes:

El Juicio de Paris by Enrique Simonet, 1904

Book Illustrations – Myths and Legends
The final major is a pretty big project, so it’s best for me to work with something that I know I will enjoy. I’ve always been a huge fan of myths and legends – especially Grecian and Egyptian – so I thought of the idea of doing illustrations to represent a myth or a series of myths. To start off I could do some research into different illustration styles such as art nouveau, and look at myths that aren’t so well known but are important to me. I really like the story of the apple of discord where Athena, Aphrodite and Hera fought over an apple over who was the fairest.

Portraits: Evaluation

When I first looked at the brief I admit that I had a bit of a heart attack; I didn’t have a clue what the psychology of faces was so the first thing I did was research into that subject. I feel that by doing this first helped me generate ideas rather than drawing something and hoping that it would fit into the topic.

So my first thought was to create something that showed emotion, or different kinds of emotions, and this happens to be what I used for my final idea. By connecting all of these faces with a single line showed that they all belonged to the same person, and to further support this idea I made it so that the faces had the same features and hairstyle.
I experimented by adding colour to emphasise the emotions but I was treading on a thin line, as some sources said – for example – that green was the colour of surprise but then others said it was the colour of envy. To avoid any confusion I made my illustration black and white and this then allows the viewer to focus more on the facial expressions that are drawn rather than be distracted by the confusing colours.
This then creates a successful illustration because a) it had an obvious meaning to it and b) the viewer could focus on the actual drawing rather than the “pretty colours”. My target audience (psychologists) would be able to tell that the faces are the same but many variations of emotions, and facial expressions are one of the key parts of human psychology as they could portray a certain emotion that makes up the character’s personality.
By adding a grey gradient I have made the illustration softer as the lines aren’t so bold and demanding, and then this’ll help the viewer to read the article without being distracted. I made it darker so that the white border would be deliberate as I noticed that most of the images in New Scientist don’t “bleed” to the edges.

The typefaces used in the caption – Minion Pro and Myriad Pro – resemble the ones showcased in the magazine, which then allows my design to blend in easily with their articles. I have used a blue for the heading because blue and black are used on their main website (the colour scheme changes within each issue).

However when I printed out my two versions (one of the illustration at it’s full size, and the other alongside a caption) I noticed that the one with the caption had a darker grey gradient even though they were the same image. I think that this is because I had printed from Photoshop for one version and as a PDF from the other. This has taught me that I should print out from PDF’s as they “hold” the right colours.
So if I were to revisit this project I would save both documents as PDF’s to ensure that they’ll be exactly the same safe for the little caption.

This project was pretty challenging because of the fact that it ran alongside my FMP, but because I knew this was going to happen I was able to draw up a schedule so that I could research specifically on the things that were relevant to the project so that I had more time for the designing process. By doing this I was able to save valuable time and ensured that I was finished a week before the deadline so that I could brush up on any mistakes made or add a bit more research.

Like all of my recent projects I drew up conclusions of all of my research so that I could reflect on what I’ve learnt and how they were going to be relevant to my project. This then helped me to generate ideas, as I was able to flick between research and idea generation as I was going along.

If I was to say one thing about this project then it’ll be that I wished I did more experimentation, although at the same time my main focus was on the actual idea and so I didn’t waste time just doing them for the sake of filling out my research methods. I had discovered my style as well – which is line drawing – and so I wanted to explore into that rather than dabbing a hand in, say, charcoal or paint. Illustrators such as Joe Ciardiello, Ralph Steadman and Giacometti influenced me on line drawing as I really liked the way they produced sketchy images and making them appear finished at the same time.  

With my next project I think I’m going to look at inspirational designs first and then come up with my ideas because this project was a bit of a mess when it came to idea generation. The reason being was that for a couple of days I was so stuck that I wanted to avoid the project altogether, but after looking up at some other illustrations I was able to “get back in the game” and become inspired and produce ideas.

The Other Faces

Final Illustration

Mock up (how it would look when printed)

"We have many faces beneath the surface; anger, happiness, surprise, mourning… and each of these make us who we are. "

This is my editorial illustration for my uni project based around the subject the "Psychology of Faces" to be displayed in a magazine similar to New Scientist. I used the line technique where I didn't lift my hand/pen from the page so that all of the faces are connected by a single line to show that our emotions are, in the end, all connected.

The Original Illustration

Portraits: Final Screenshots

Reasons of Final Choice
After much deliberation I went along with my first idea, where all of the emotions are connected by a single line. This is because it had a stronger meaning to it and would fit better with my target audience than my other pieces.
What I mean by this is that when I had a flick through their magazine I realised that they had pretty serious articles, and that there weren't many illustrations (if at all). The illustrations they had were only small thumbnails in their Opinion Letters and these were drawn in a cartoon style.
So I wanted to pick an idea that had an obvious "story", sense of depth, and in a style that would fit in with their articles. The black and white colour scheme gives off a professional appearance as well as looking a bit more editorial rather than a fine art piece. I think that by looking at how editorial illustration's were presented further persuaded me to use this piece because I really liked how Joe Ciardiello did his illustrations and thought they worked really well with text. I wanted my illustration to support my article, not overpower it with bright and bold colours.

Process

As you have already seen in a couple of posts back I have already perfected the design, although left it in the middle of deciding whether or not to have a gradient. So here I have picked up from that point.

Because this illustration would be presented alongside an article I flipped it horizontally so that the people would be facing the article rather than away from it (as the article would be displayed on the right). 

 

Portraits: Typeface Choice

Before I can move onto my final design I need to consider what typefaces would be suitable for New Scientist, so I am going to form a list of possible typefaces and then choose one from that list.

Psychology of Faces

This topic is quite a “deep” one, so I would need to look for a professional typeface to reflect the nature of the topic as well as the target audience. The audience would know exactly what the article is about so it would be wise to use an “intelligent-looking” typeface, and because of this it would probably be better if I used a serif style.
New Scientist has also used a serif style within their articles so if I want to achieve a similar look I too have to use a serif style. 

However I would need to look for a sans serif typeface for the caption because New Scientist does use sans serif for this. I think this is because they would like a friendly opening before delving into a deep topic.. But that’s only my opinion.

So I shall first start by looking at typefaces for the caption and then the other words.

The Other Faces

This typeface is Biko, and it has the perfect thickness for the heading of the caption. Although I do like this typeface I find the letters are quite wide and the kerning quite… Annoying, as they vary with each letter. However this is probably because – and the perfect example is “F” – that the width of the letters also vary so they would need to take up a lot more space.

Portraits: Experimentation

Before settling on a final design I wanted to experiment with different media. This included watercolour, watercolour pencils, ink and biro (free hand). So I photocopied some of my last sketches so that I could work on making a mess experimentation.

Watercolour Paint 

Even though I tried adding some colour to this in Photoshop I wanted to create a “cloudy” effect by using watercolour paint.

I first started by preparing the picture; I went around the edges of “sadness” with just water, as this would create the boundary for the paint to flow down. I then dipped my paintbrush in the minimum amount of paint into lots of water, and then dotted it on the paper that I had wetted.

The paint then “followed” down this area, and by taking a piece of scrunched up tissue I patted it slightly to blend all of the blue in.

I used the same method for the rest of the piece, using colours such as red for “anger”, yellow for “happiness” and green for “shock/surprise.” It took me a while to decide on what colour to actually use for shock but after doing some research I came across a page that had a colour wheel of emotions.

Portraits: Idea 1 (Development & Experimentation)

After doing all of my experimentation with different ideas I finally chose to do my first idea. It’s strange how it sometimes works that way (that the first idea is the best) but I am glad that I had done some other ideas and experimentation.

In this illustration I wanted to portray how all of the emotions here belonged to just one person, and I did this by drawing them all by just one line (by not taking my pen off the page).

Here’s my process of bringing this sketch up and adjusting it so that it would be fit for the article:

I first scanned the illustration and brought it up on Photoshop. By duplicating the layer I could then play around with adjusting the brightness & contrast. Once satisfied I then went to Image > Adjustments > Black and White.

I wanted to change the Image Size so that I could work on a larger canvas to get rid of all of the shadows at the edges of the page, so I went onto Image > Image Size and changed the dimensions beneath Document Size.

As it was a bit too big I took the Crop tool and cropped it down to the size I wanted. 

Portraits: Idea 3

I went back to developing my idea of the floating theatre masks, and began to draw the outline of them in biro. I wanted to be able to paint a smoky affect with watercolour paint for the background so that it appeared as if they were floating on a cloud, so I rubbed out all of the pencil lines apart from the cloud.

This was when I changed my mind because there wasn’t a valid enough reason for painting a cloud beneath the faces, and another idea had popped into mind. I had done this particular line effect in one of my last drawings (for my mum) and I really wanted to try it out again.

This is because that technique I used reminded me of waves, and so I wanted to do something that went along the lines of “wave of emotion”.

So here’s my process for doing this line technique:

Portraits: Idea 2

I really liked my previous idea of displaying emotions around each other in one single line, and wanted to develop it.

I was thinking of how I could incorporate masks into it and then thought: what if I did the main person wearing a mask, with emotions surrounding her? This could then show that we have many emotions hidden “under the surface” of our “masks”.

I first drew the basic facial structure before doing the mask, as it had to look as if it was actually sitting on a face. I then drew her eyes beneath it.

New Scientist Magazine

Illustrations
I bought a copy of New Scientist to see how they lay things out and what kind of styles their illustrations were in. Unfortunately there weren't many illustrations at all apart from the small squares but I decided to take a look at them anyway as the brief states that I have to "Design the editorial image to fit one page of the magazine (using the proper format)".
This means that for the final thing I would have to print out my illustration alongside a caption (which could be placed anywhere on the page) and with the right dimensions to fit into the magazine. 

Front cover

Portraits: Idea 1

This illustration was inspired by Joe Ciardiello's line work, although I used the technique where I didn't take the pen off the page (I had previously experimented with this in my initial sketches). I did this because I wanted to connect all of the faces together and show that they are the many expressions of one person; sadness, anger, surprise and happiness.

Chinese Theatre Masks

In one of my sketches I came across the idea of a girl wearing a Chinese theatre mask. As I child I have seen many theatre plays where the Chinese would wear such masks and they have always scared and fascinated me due to their dramatic colours and facial expressions.

It is their facial expressions that I want to find out for this project as it could lead to the psychology of faces.

Beijing Opera Masks - http://www.paulnoll.com/China/Opera/

I came across this website while I was doing some research, and they have a page that explains the colours on the mask and they represent. They have also provided examples of masks in these colours along with the character names.

Red – Guan Yu is the name of a very important general who was famed for his loyalty towards his emperor, Liu Bei, and he was a perfect example of what the colour represents; devotion, bravery, loyalty and courage.

Black – Black is a very dramatic colour that symbolises roughness and fierceness. The mask shown above (the Zhang Fei mask) is of General Zhang Fei who had a selfless and bold character.

Yellow – Yellow is also another colour used to reflect fierceness as well as cool-headness and ambition. Tu Xingsun was a “dwarf” general who had special powers in the play “Three Mountain Pass”

Purple – Purple signifies sophistication, cool-headness and uprightness. A purple mask could be used to portray a just and noble character.

Blue – Blue signifies faithfulness and someone who is firm and steadfast, sticking strongly to their faith/ a person. It also is the colour used for an intelligent and fierce character.

White - Unlike Western culture where white represents purity and heavenly, white it an extremely unlucky and “bad” colour. If the character has a white mask it means that he is treacherous, sinister, suspicious, and crafty, hence why all villains would have a white mask. Cao Cao was a prime minister during the time of the Three Kingdoms who was extremely powerful and cruel.

Green – Green is also used for villains although are more violent instead of evil. However it could also represent a person who is extremely stubborn, has a total lack of self-restraint, and violent.

Pretty Painted Face – These are the clowns of the opera who enliven the performance. Jiang Gan fawned over Cao Cao and was his assistant.

All written in own words, referenced from http://www.paulnoll.com/China/Opera/China-opera-colors.html 

Conclusion:
I think that by looking at these masks I realise the differences between Eastern and Western culture and the way they connect colours with emotions. Red, in Western culture, is viewed to be the colour of danger, anger, or passion... But in Chinese culture - as mentioned above - it represents devotion, bravery, loyalty and courage.
So if I do go ahead with the idea of using masks I must first think of my audience; would they be from the West, or the East? I think that New Scientist is a UK based magazine so maybe using Chinese masks would throw people off a bit because of the clash in connotations.

Initial Ideas So Far

By looking back at my mood boards and the mind map I had created in the last post, I went along and sketches some initial ideas that sprung into mind. Now I'm going to take a step back and have a look at them to see which ones I could possibly develop.

Here’s my first set of initial sketches, which were inspired by the phrase that the “eyes are the windows to the soul”. For the one on the top left I wanted to say that the eyes could speak a thousand words but if we covered them up, could we really guess the person’s true emotions?

The sketch next to it is of a “typical teenager” wearing a hoody. He would have scars all over his face that – to the viewer – would make him appear dangerous and violent. I’m going to include a little caption beneath to explain he had gotten those scars from a car accident to contrast strongly with the viewer’s first impressions. I’m not too sure if this message would work however, so I’m going to move on from that idea.

I imitated Joe Cardiello’s style for the line drawing as I used a technique where I didn’t take the pen off the paper. I really liked this because it could portray the message that all humans are imperfect like the lines I drew. I think I shall use this line technique in my other sketches.

The little sketches next to it are developments of my eye idea, where I’m thinking of drawing a face within the eye. I’m not really too sure about this idea though.

Psychology of Faces Mind Map

I'm a bit stuck when it comes to reading off the research I had gathered in one of my previous post's, and so I went I did what I normally did when I'm stuck; create a mind map.

I don't know... I just find mind maps so much easier in collecting all of the pieces of information I had gathered so that I could draw up some ideas from it as well.

Conclusion:
As I mentioned above, this mind map really did help me generate some ideas. Now I think I am able to start doing initial sketches and using this mind map as a reference.

Inspirational Illustrators

At this moment of time I have decided to go down the illustration route, and this is mainly due to the fact that I have more knowledge on the matter than I do with photography. Because of this I would need to look at editorial illustrations to find a style suitable for my ideas, and to also provide inspiration.

But before I do that: What is Editorial Illustration? To put it simply, these are illustrations that are normally accompanied by text or represent a certain article to make it easier for readers to understand it, as it’s sometimes hard to “picture” a subject without an image to help give you a little push.  

Lotta Nieminen - http://www.lottanieminen.com/

Originally born in Helsinki, Finland, Nieminen studied graphic design and illustration at the University of Art and Design Helsinki and the Rhode Island School of Design, and is now a freelancer based in New York, U.S.A.  

Nieminen has done many editorial illustrations, and after browsing through a few of them I found this one that was part of a series "Suez Environment". Suez Environment is "a French utility company which operates in the water treatment and waste management sectors." ( quoted from her website). 

This illustration here is a perfect example of her style; she uses flat colours so there is a lack of perspective, and yet the way she places specific elements (like the hill) creates some sort of depth. The characters within her illustrations are quite simplistic so that their facial features aren’t really obvious, which is a style that is reflected in Impressionism where painters like Monet would focus more on the light and shading than facial features. 

What I also noticed is that she has used a texture so that it looks slightly grainy and less “flat”.

I’m not really good at doing backgrounds so I really admire the detailing in hers, despite the lack of things such as shading. She has paid a lot of attention to tiny things such as the windows, lines in the buildings, and even the little "turrets". 

From this example I can also assume that she uses Illustrator, and I really admire her for that because I’m not that good at vector images at all!

Mood board

The first thing I always do when I receive a project is to create a mood board for inspirational purposes. By putting a link to the origins of each illustration I would be able to visit the artist's website if I want to take a look at their other pieces to analyse under my "inspirational illustrators" section. 

Links: http://alicexz.deviantart.com/art/Do-You-Hear-the-People-Sing-356749686 http://hellobaby.deviantart.com/art/Incarnation-356393869 http://sanguisgelidus.deviantart.com/art/I-talk-to-birds-356213880 http://lora-zombie.deviantart.com/art/CHARLIE-BOB-and-DONNA-357645489 http://www.behance.net/gallery/Glamours-Days-Gentleman-Magazine-Spain/6683337 http://www.behance.net/gallery/Gambit-Wielopolskiego/6932211 http://www.behance.net/gallery/Collective-2012-Monsieur/6856707 http://www.behance.net/gallery/Colored-Pencils-Jan-Feb-2013/7303581 http://xzymhr.tumblr.com/post/8886881294/b-l-i-s-s-i-will-be-making-a-limited-run-ov http://dollychops.tumblr.com/ http://cargocollective.com/gabriellerose http://akirakirai.deviantart.com/art/Fear-194527543 http://agnes-cecile.deviantart.com/art/lines-hold-the-memories-196429806 http://agnes-cecile.deviantart.com/art/The-pain-of-cluster-headache-281297639

Links: http://www.behance.net/gallery/2013/7048771 http://www.behance.net/gallery/WB-Weird-Beauty/5036433 http://www.behance.net/gallery/Chapter-02/4207749 http://www.behance.net/gallery/Illustrations-Fall-2011-Summer-2012/4291941 http://www.behance.net/gallery/Editorial-Illustration-IV/4372633 http://www.behance.net/gallery/Chapter-01/2802101 http://www.behance.net/gallery/Denise-Van-Leeuwen-Folia/4414933 http://www.behance.net/gallery/illustrations-2011/2447299 http://www.behance.net/gallery/Illustrations-11/2759289 http://www.behance.net/gallery/encharnting-series/746015 http://aurorawienhold.deviantart.com/art/Portrait-Watercolor-299254301 http://www.behance.net/gallery/illustrations-2011/2447299

Conclusion:
Here I have concentrated on collecting illustrations of different media and styles, but looking at this I can see that I have leant towards the more "sketchy" style.
Now I can use these mood boards as sources of inspiration, and if I do find some other illustrations then I could just add them here.

Research: Psychology of Faces

To understand a bit more of what my illustration would be representing, I decided to take a look at the definition of psychology and at articles about the psychology of faces. It is important to have a bit of background knowledge of my subject so that I could produce something that would clearly relate to it.

Psychology

To begin I'm going to look at the definition of the word "psychology" to understand what it is exactly. This is what I got in the Oxford Dictionary:

 "Noun

1 [mass noun] the scientific study of the human mind and its functions, especially those affecting behaviour in a given context.

2 [in singular] the mental characteristics or attitude of a person or group: the psychology of child-killers

The mental factors governing a situation or activity: the psychology of interpersonal relationships"

So the psychology of faces is basically the scientific study of faces, and I deduce from the definition that (perhaps) behaviour could affect the face itself. 

Facial Expressions

In my opinion I believe that facial expressions play a great role when it comes to the understanding of emotions, because we as humans express our feelings through our facial expressions even though we try to hide that. Our faces "crumple" when crying, our eyes narrow and nostrils flare when we're angry... Such muscle movements in our faces express how we feel. "Facial expressions are an important channel of nonverbal communication." (FaceandEmotion.com) Another important aspect of facial expressions is that they are a universally recognised body language – they are similar all around the world.  

http://www.autismspot.com/tags/Spot-Content-Tags/facial-expression

The eyes seem to give away a lot about what a person is feeling, and are known to be the “windows of the soul”. Here’s what I have found on Psychology.about.com

FMP & Portraits Schedule

To help me juggle two projects at once I quickly drafted up a schedule, colour coding each research and design sections so that I could see just how little much time I have left to do both projects.

Portraits: Design Brief, Learning Outcomes & Analysis

Design Brief

University of Kent at West Kent College

HND Graphic Design

Year 2,  Term 1

Modules: Option Module Illustration

     OR    Option Module Photography

(please note that whichever module you pick you must also use for the second project in this portfolio for Options)

Preamble

At this stage of your HND you are offered the chance to undertake further work within a pathway – these are illustration or photography.

In answer to this brief you must produce outcomes that conform to ONE of the options. You should check the appropriate learning outcomes and work to achieve these.

The Brief

 New Scientist magazine is running an article about the psychology of faces. You are asked to design an editorial image made in any format that you like (providing it can be assessed against either the Illustration Module or the Photography Module).

Design the editorial image to fit one page of the magazine (using the proper format).

You should also include on the page in any way you feel is appropriate a small label that details the name of the sitter and no more than 20 words describing them.

Specific Learning Outcomes

Please see Moodle and your course handbook for the specific learning outcomes for each module. Please note that the pathways options (photo and illustration) have different learning outcomes.

Featured Design: Simply Himelyn

Hello readers!
Remember a couple of posts back where I showed you the business card and logo design I had done for Chaudie? Well, I am pleased to announce that her blog has now finished it's construction and she has used my logo in her blog header.

To visit her blog please click here. I expect great things from her!

Under Con.

Hey all!

So I've finished off some of my uni projects which gives me some time to focus on this blog! I'll be making a few changes to it because I feel that something isn't quite right...

Keep your eyes out for more updates! Shall hopefully make this blog look all nice and pretty soon :D

Lizzie

Red String of Fate

This is for my uni project that is linked to the Design Factory competition. Here I have designed a Valentines Day card as I thought that the ones we sell are too cliché and that we don't look into the deeper meaning of love. I have based my design around the East Asian belief of the Red String of Fate, where we are tied to our soulmate by an unbreakable bond.