Wednesday, 28 February 2018

OUGD603 - Photographers identity - Meeting

Myself and Emma organised a meeting to discuss progress so far which included the business and post cards. Also I let Emma know that I wanted to set up a dropbox for images, collect information for the creative CV and briefly discuss a website and domain during this meeting.

First thing to run past was Emma selecting her favourite options for business and post cards from the selection I designed. She preferred the simple options which were either left aligned or justified. One piece of feedback which narrowed down the options was Emma stating do not put 'photographer' on business card. This is because if Emma applied for a studio assistant job, she may come across cocky so this feedback was very helpful. Emma also felt she couldn't make a decision by judging the designs on screen, so she selected her favourite and I printed them to scale for testing.






























From the selection of test prints Emma chose the simple left aligned option of information situated in the left hand corner of the card.




























Emma preferred to stay away from a typical looking postcard with lines so opted for a simple option.


















Collecting images and creative cv information was a crucial part of the meeting as I felt I couldn't move forward unless I had the suitable content for deliverables, so I made sure to collect both from Emma.

For the discussion of the website I wanted to introduce Emma to using Cargo Collective for her hosting site. I did this for a number of reasons as I know how to work the site already, but its a great option for Emma to be able to maintain her site once I hand over the final design template. I showed examples of the site in use and discussed the costs of the site such as hosting and domain, with Emma agreeing to use this option. The final thing to run past in this meeting was choosing a suitable domain for Emma, as 'emmacheng.com' was taken we both felt the next best option was 'emmachengphoto' which happened to be available. 

Tuesday, 27 February 2018

OUGD603 - Photographers identity - Initial business & post cards

Business cards were the first deliverable I started designing and I wanted to keep them straightforward and standard, with the dimensions of the cards being 3.5 x 2 inches.

The post cards are again simple with some ideas including the normal postcard guide, while others are more stripped back. A standard postcard is A6 and for the image included in the initial post card, it isn't full bleed as I think it helps frame the image but also it'll help cut printing cost and wastage in production.







Saturday, 24 February 2018

OUGD603 - Photographers identity - Deliverables recap & guidelines

Once the logo was finalised it was time to discuss the deliverables outlined in the brief by Emma and how the identity will be utilised across both print and digital. Also I wanted to think about the guidelines to abide by while designing, but also to allow Emma to sustain her identity once I hand it over.

Emma stated that she wanted a creative cv, business cards, post cards, a website, social media templates and a promo pack which will accommodate many of the print based outcomes. From research and thought about the deliverables, the relevance of each is important for any professional photographer. Additionally, I had the idea of including a posterzine which Emma can use as a all in one mailer or just to gift someone to use as a print. Finally, I find it relevant to include a invoice and letterhead template which Emma can update and use.

At this stage thinking about guidelines such as colour and type was crucial as it gave me direction when designing but also helps shape the overall feel and look of Emma's identity. I decided to only focus on the accompanying type at this stage then look at colour and material when the outcomes are designed. As the identity is simple, the elements that come with the identity shall remain stripped back, so for body copy I decided to experiment with the two typefaces Emma preferred for her logotype. As both Lemur and Poppins are typefaces Emma already likes I found it a timesaving process to only experiment with these two for body copy.




























Feedback from Emma regarding the typography was interesting as she suggested using the same typeface as the logotype may take away the visual impact of the overall identity. I totally understood this as using the Lemur twice may seem lazy, but I wanted to justify that using this typeface again continues the overall look of the identity, and doesn't just constrict it to the logotype. Lemur's characteristics are very strong so I believed it deserved to live outside the logotype for Emma's identity. Not to take away anything from Poppins which is the other choice, but I think having a body copy which also has its own visual impact will only benefit Emma's identity and make it more coherent. From this justification Emma agreed with Lemur for the body copy as it aligns with her initial ideas of having a contemporary and simple identity with subtle character.

Friday, 23 February 2018

OUGD603 - 27 Club - Evaluation

This was a very short but rewarding brief as I allowed me to step away from bigger briefs for a few hours to create work for a very open brief. Before beginning the brief I knew I didn't want to spend too much time undertaking it, as I chose to do it as chance to just experiment and maybe have the chance of exhibiting work. I had an idea from the beginning which enabled me to skip past deciding on what artist to focus on, and just generate some ideas relating the brief and research. As in the past I've done briefs similar to this such as Secret 7, when I've wasted time doing unnecessary research and development. This time I wanted to focus on the core of the idea then quickly generate ideas while making sure the relationship is clear for the judges looking at the work. Skipping unnecessary processes allowed to me also stick to my original plan of completing the brief in two days, which Im happy with as i'm generally content with the submissions.


OUGD603 - 27 Club - Final, rationale and submission

For submission I selected the ideas (seen below) which I believe best communicates the link between Robert Johnson (singer) and Robert Johnson (club). Each idea varies but represents a different aspect of the relationship between singer, nightclub and the 27 Club.




























A short rationale is required for submission explaining the artwork. For my rationale I wanted something to represent the ideas on a whole so I focused on the core link between the two.

My response focuses on a legendary German nightclub which is named after the infamous dapper-dressed bluesman, Robert Johnson. Whose hedonistic ways and satanic pact made him the father of rock 'n' roll's long relationship with the dark side, Robert Johnson the club has plenty of that self-same ribald attitude. Each of my responses explore the visual culture of Robert Johnson, whether that be through black letter typography, location or the unique lemon shaped drink tokens which you can find in the club.

I submitted the physical pieces of work on the 23rd February as I was unable to hand in the following week due to my internship outside of Leeds. However, by handing in on the 23rd I was able to complete the brief in two days as planned.































Thursday, 22 February 2018

OUGD603 - Photographers identity - Logotype finalisation

During our next meeting we needed to discuss the logotype, guidelines and the deliverables such as business card, promotional pack etc.

I showed Emma the simple logotype alterations along with the contextual development of Lemur which she approved of and liked due to the subtleness of it. This added contextual value swayed Emma's mind towards Lemur with her preferring this over Poppins regular. In terms of composition she wanted to keep it simple with the single baseline option. From here I wanted to make a few more changes to the typeface such as tracking to make it more compact and slightly increasing the stroke width. Although, Emma specified she preferred a lighter family typeface I felt the logotype did need a bit more prominence as it may seem subdued when accompanied with body copy. I increased the stroke width by 1pt and decreased the tracking to achieve a more notable logotype.



























Emma was pleased with the final changes and agreed with increasing the stroke width slightly as I explained the visual impact may deter if its too thin. I wanted to test the logo to see how it'd work in particular situations and its worked rather well across both print and digital.


































When experimenting with the chosen typeface of Lemur it was trial version from TIGHTYPE. Therefore, Lemur light had to be purchased with myself and Emma both agreeing to split the cost as I would store the otf desktop file on my macbook while it'd used across her identity.

OUGD603 - 27 Club - Feedback & Submission selection

Feedback was required on ideas to allow me to consider which ideas are suitable for submission. I showed my peers the ideas along with context behind each and on a whole feedback was positive, with people torn on what communicates the clubs link to Robert Johnson. Peers liked the simple typographical idea of the quote, as they believed the quote links nicely to not only the club but also the 27 club on a whole as many artists died of alcohol and drug abuse, especially Robert Johnson as died of a poisoned bottle of whiskey. My peers also liked the idea which combines black letter typography and images in one composition, but the stripped back version and not the one with the images overlayed over one full bleed image.

In terms of selecting my favourite and picking one capable of communicating the link between a club and blues legend, I struggled myself. So for the submission I deemed it necessary to submit four different ideas then allow the judges to pick the best. Being indecisive can be a problem however as its for a competition I didn't see the harm in submitting more than one. So I picked my favourite along with the ones which received the most positive feedback as this gave me an incline of what the judges may think.

OUGD603 - 27 Club - Ideas

The visual ideas I generated are influenced by a number of factors discovered in research but all aim to celebrate a club named after Blues legend Robert Johnson. 

Some ideas focus on the unique lemon shaped drink tokens of the club as I believe these objects are bespoke to the club. Additionally, I like the quote on the back on the tokens  so I used it in some ideas. The quote reads "Alcohol and nicotine takes out half of humanity, but the other half dies off without Schnapps and a smoke." I believe this quote has subtle links to the 27 club and toll of alcohol etc on an artists life. So on, the quote communicates the clubs quirky dark side, similar to Robert Johnson and personally I think the lemon has a sinister look to it. 

The typography that features in the ideas is of various assortment but all justified in relation to the ideas. Some include german inspired black letter typography to highlight the location and culture of the club. While in one idea I use Landnáma by Or Type which is used by the club for their logotype. For other ideas I selected a modern sans similar to the one used in listings posters, as I also mimic the layout of listings posters in one particular idea to give context to the club. 

Communicating the location of the club was something I wanted to focus on as in the brief it states to find a hidden gem. By including the address of the club in some ideas, it informs the viewer of the club straight away without any ambiguity. Imagery is used to showcase the location and community of Robert Johnson more literally. Then for colour selection I used the already existing colours used by the club which is bold primary colours such as the yellow, blue and red. 











OUGD603 - 27 Club - Research

A good way of generating ideas in research was to look at visuals relating to the Robert Johnson (club) and this ranges from the interior design, posters and album artwork. Therefore, I continued to read articles and interviews about the club which led me to discover the designer responsible for the clubs visual output.

Studio Michael Satter takes care of Robert Johnson's event/listings posters but also recently rebranded the club. In the varied outputs for the club the studio uses strong concepts and in clear and simple designs. But when looking through the archive of work produced for Robert Johnson, the subway series of posters with a childish playful aesthetic stood out for me.



























The simple drawing accompanied with strong typographical layout and execution creates a desired and engaging effect for the poster series. This style is an option to experiment with in idea development as the style is a recognised aspect of Robert Johnson.


























'Come On In My Kitchen' the book provided even more of a visual insight into the club as it has an assemblage of images and texts, which explain and sometimes glorifies the history and future of the club.






















The clubs website is stripped back and characterised solely by typography, with Landnáma by Or Type being used for the body copy but its also the logotype of the club.

Resident advisor proved a good resource for giving me visuals of inside the club, as a number of featured articles have great photography of the club. Examples below:
























Drink tickets at Robert Johnson read: "Alcohol and nicotine takes out half of humanity, but the other half dies off without Schnapps and a smoke."








Wednesday, 21 February 2018

OUGD603 - 27 Club - Research

The 27 Club has become one of the most elusive and remarkably tragic coincidences in rock & roll history. The term became widely known after Kurt Cobain's death in 1994, with rock fans connecting his age to that of Jim Morrison, Janis Joplin, Brian Jones and Jimi Hendrix – though it was notable to fans in the early 1970s when those four visionaries died within just two years of each other. When Amy Winehouse passed away at age 27 in 2011, it attracted even more attention to the significance of the age. While the club has been largely connected to musicians, it has expanded since, as many young actors and artists have lost their lives due to everything from addiction to suicide to freak accidents.

When looking through the long list of artists who died at the age of 27, plenty stood out for me for the obvious reasons. However, one particular name stood out for a reason that doesn't necessarily relate directly to the artist. That artist is Robert Johnson, who was an American blues singer-songwriter and musician who died in 1938. Although, I am aware of the artist and his importance to the blues genre, except when I see his name I think of the legendary techno nightclub in Germany named after him. I feel this answers a part of the brief that says ' Find some hidden gems', therefore my response for 27 Club will focus on Robert Johnson and his link to the club Robert Johnson in Offenbach, Germany.

Robert Johnson (Singer)
  • Robert Leroy Johnson (May 8, 1911 – August 16, 1938) was an American blues singer-songwriter and musician.  Johnson's shadowy and poorly documented life and death at age 27 have given rise to much legend.
  • One Faustian myth says that he sold his soul to the devil at a local crossroads of Mississippi highways to achieve success. As an itinerant performer who played mostly on street corners, in juke joints, and at Saturday night dances, Johnson had little commercial success or public recognition in his lifetime.
  • After the reissue of his recordings in 1961, on the LP King of the Delta Blues Singers, his work reached a wider audience. Johnson is now recognized as a master of the blues, particularly of the Mississippi Delta blues style. 
  • He is credited by many rock musicians as an important influence; the blues and rock musician Eric Clapton has called Johnson "the most important blues singer that ever lived."Johnson was inducted into the Rock and Roll Hall of Fame in its first induction ceremony, in 1986, as an early influence on rock and roll.
  • Johnson was always attractive to women; as his prowess grew, he was the object of jealousy, from fellow musicians and jilted boyfriends and husbands. He often claimed that he learned to play guitar from the Devil himself, and many of his recordings evince a haunting, otherworldly inspiration.

In research I discovered his death remains a mystery to this day. He died on August 16, 1938, at the age of 27, near Greenwood, Mississippi, of unknown causes. However, several differing accounts have described the events preceding his death. Johnson had been playing for a few weeks at a country dance in a town about 15 miles from Greenwood. According to one theory, Johnson was murdered by the jealous husband of a woman with whom he had flirted. In an account by the blues musician Sonny Boy Williamson, Johnson had been flirting with a married woman at a dance, and she gave him a bottle of whiskey poisoned by her husband. When Johnson took the bottle, Williamson knocked it out of his hand, admonishing him to never drink from a bottle that he had not personally seen opened. Johnson replied, "Don't ever knock a bottle out of my hand." Soon after, he was offered another poisoned bottle and accepted it. Johnson is reported to have begun feeling ill the evening after and had to be helped back to his room in the early morning hours. Over the next three days his condition steadily worsened. Witnesses reported that he died in a convulsive state of severe pain.

Artworks related to Robert Johnson:
As Robert had a poorly documented life which meant little commercial success or public recognition. When looking for any artwork relating to the artist, this was apparent as he has next to nothing visually representing him.




























Robert Johnson (Club)

Opened in 1999, Robert Johnson is central to a respected Frankfurt-area house and techno scene. Tucked away in Offenbach, near Frankfurt's city centre, its the last surviving club that connects the Frankfurt area to its rich electronic music heritage of the '90s, during which time the city was one of house and techno's global hotspots. It has been said Robert Johnson bridged US deep house and German house sensibilities, opening the door for minimal house. What many people today may associate with a Berlin sound was an extension of what was pioneered in Frankfurt. Robert Johnson made that happen.

Despite being named after blues musician Robert Johnson, techno and house is the agenda and played from both internationally renowned and locally-emerging DJs. It's a small, no-frills club in the Offenbach district which consistently delivers nights by concentrating on what’s important, the music. Simplicity is key and this is what makes it one of house and techno's most important clubs. It has unwittingly defined minimalism before the term took over the electronic music scene.

I was curious to know why the club is named after Robert Johnson and although I didn't find any concrete answers, I did find a few links:
"Named after the infamous dapper-dressed bluesman whose fiendish guitar playing and hedonistic ways — not to mention fabled satanic pact — made him the father of rock 'n' roll's long relationship with the dark side, Robert Johnson the club has plenty of that self-same ribald attitude."
In 2012 the club also released a book number 'Come into my kitchen' just like the song by Robert Johnson. That title was chosen because it always stuck around with the founder Ata, as back in the day Robert Johnson sang about the kitchen as a place where you'd meet with people, drink whiskey and dance. If you read his story and the story of the blues, you see that what they did back then wasn't too different from is happening in the club.

OUGD603 - 27 Club brief

THE 27 CLUB

Submission Date: 01.03.2018

The 27 Club is a celebration of the music created by those who died at the age of 27, including greats such as Jimi Hendrix, Kurt Cobain and Amy Winehouse.

The Brief:

Create artwork for one of the musicians in the 27 club (list attached). This brief is open and is a chance to be as creative as you like, experimenting with different mediums. Our only restriction is that the size has to be 27 x 27 cm. Think about the focus for the piece, could it be about a musician as a whole or focus in on a specific phase of their life? For example it could be Jimi Hendrix before Woodstock or Brian Jones’s response to Sgt. Pepper. You could even focus in on a specific song like ‘Light My Fire’ by The Doors for Jim Morrison. Find some hidden gems, but please ensure your entry is respectful as the subject could be viewed as sensitive in nature.

Submissions:

All work submitted will be presented to a panel of judges, with the shortlisted pieces being displayed in the exhibition and used within a small publication.

Deliverables:

27 x 27cm artwork.
A short rationale for the piece.

Submit entry digitally to the27clubinfo@gmail.com by 3pm on the 1st March 2018 at the latest. All entries submitted after this date will not be considered.

Time Scale:

2 days

Tuesday, 20 February 2018

OUGD603 - Photographers identity - Logotype development

To test the typefaces Emma chose I decided to experiment with all the available weights and in uppercase. Although Emma specified she wanted something with thin stroke widths, so either a thin or regular weight. However, I still wanted to asses every option for the four typefaces she decided upon.

















From the selection Emma picked out Lemur light and Poppins regular as her favourite for the logotype. Although, I personally prefer using a bolder option for logotypes I understood that the wishes of the client needed to be fulfilled. Additionally, a smaller weight logotype does help communicate the client, as Emma isn't a photographer with a brazen style. Instead her style is more stripped back and reserved so I think a light family will help convey this.

















Simple composition alterations were made to both Lemur and Poppins in development but for me one option stood out not only for aesthetic reasons but also contextual reasons. I believe Lemur has characteristics such as ascenders and descenders similar to Chinese characters. As Emma's origin is Hong Kong I found it very relevant to aim to include an aspect of her heritage in a subtle yet clever way.




















































The letterforms in the logotype have tails, ears and terminals that all have similarities to Chinese letterforms as sharp angles of the typeface help give this effect.

OUGD603 - Photographers identity - Initial logotype ideas

As both approaches I devised revolved around a logotype it was time to think about how to communicate Emma through a logotype. During our last meeting Emma commented on how she liked the logotype example of Eric Petschek. In his work he exaggerates proportions, strong, clean lines, and simple subjects and this is captured in a typeface and word mark that are relevant and modern.Therefore, I looked more into Eric Petschek's identity for inspiration and correlated the brief to his aesthetic while bearing in mind the aims of open, modular and minimal.

To start I selected a number of typefaces both serif and sans serif which all have strong characteristics which can be compatible for any identity but also further customised. These examples are all very primitive and aim to get the ball rolling in terms of routes to take for the identity. From here any particular font can be modified to suit Emma's needs.




































Feedback:

The feedback on the selection was that overall Emma wanted a more thinner stroke width logotype, as she deemed a majority of the examples too bold. Also she wanted to stay away from serif typefaces as she wanted something more 'modern' and 'contemporary'. From the selection she decided to pick Gulax, Lemur, Moderat and Poppins for me to craft into a logotype.

Monday, 19 February 2018

OUGD603 - Photographers identity - Approaches

During the last meeting we discussed that I'd start devising approaches to take for the identity. These approaches would give more clarity and direction, but also act as strategy for Emma. Deciding approaches to take was simple as I aligned to the brief and built on what myself and Emma discussed, such as minimal, modular and open identities.

Approach one
  • The first approach is to be minimal and open so this is idea will mean the identity and accompanying stationary will be stripped back to a bare to allow the transitional style of Emma flourish. This idea will be informed by the client, with her style and practice having subtle notes in the identity but the visual language will be very stylistic. Although, it will be minimal, the identity will be built around a core then the deliverables will follow in a minimal aesthetic. With an emphasis on finish, the design decisions will be justified in relation to Emma and it’ll allow the images shine through.
Approach two 
  • The second approach will take inspiration from the first approach but be more elaborated and utilised across both print and digital. A system will be built around the first approach, then pulled apart and put back together across various applications to create a modular system. For example a logotype or initials will be a starting point from which to create a modular brand system that pulls apart and puts back together elements from the logotype or initials across various applications including print, stationery and website. This will create a more surreal and abstract identity but one that is built around a core and It’ll have a professional manner but still be fun and representative of Emma. 

OUGD603 - Grainger market identity - Evaluation

To conclude on the Grainger Market identity which has been a time consuming yet rewarding brief to undertake. The time consuming factor of the brief occurred because I undertook this brief to test myself at a broad identity project that would cover numerous deliverables. Another reason was that context of practice halted this brief at times which made me go well over my original timeplan. However, I seen this time away from the brief as beneficial as it permitted me time to collect research and strategy then apply to ideas in accordance.

I do understand that in industry I wouldn't have this time to collate all the relevant information and ideas, but by doing this it let me consider the process more which will benefit me upon graduating. Also I feel the brief made me consider research and strategy more than ever as I decided to create a variety of deliverables, across both digital and print. By creating more it spread the project which needed a strategy to keep it together so time spent researching benefited the identity in the long run.

Looking back I feel creating an identity for something I'm familiar with and care for really pushed this brief. The market is part of Newcastle in many ways, but I couldn't just approach it from my perspective. I had to consider the whole picture, which again leaving the brief for some time allowed me to do. Each response answers the brief and helps reflect and serves a purpose to the consumers within and around the market. From what I've created I believe I have given the market a more appropriate image today, which will help it strive.

To conclude on what went well and what didn't. Firstly, having a strategy in place kept the project in place so this is something to consider for future projects that may not necessarily be branding. What didn't go great was the time planning which was down to deadlines elsewhere, but also maybe because this is the first brief of extended practice so it is down to adjustment.

Thursday, 15 February 2018

OUGD603 - Grainger Market identity - Final deliverables

The final deliverables of the brief strike a delicate balance between classic and contempoary, and help represent the markets culture and attitude. I decided in research that the best solution to a future brand is to look to the past, consequently this will enable someone who's shopped there for 30 years ago to not feel out of place coming today. For the deliverables I decided to design so that it can connect, adapt and reflect to the broad audience, but also the diverse spirit of the market.


































































Wednesday, 14 February 2018

OUGD603 - Photographers identity - Meeting

Following some initial research regarding the brief I felt it was the right time to have a meeting to discuss thoughts on research and how to push on from here.





During the meeting I showed research to this point and Emma agreed with the direction its going in terms of visuals. With an interest in the simple identity of Eric Petschek and how the logotype is the key feature of the identity. I explained how i've briefly looked into the key words mentioned in the brief and related them to the brief in creative thought. 


Emma also shown me the pinterest board she made, which consists of images of identities and stationary she likes. A lot of the stuff she looked at has a emphasis on form regarding the promo pack, with experimental folds and inserts featuring a lot. When comparing to the visuals I looked at, the stuff is more current and to the point which Emma also liked. 

During the end of the meeting, we discussed the next steps and how I'd start focussing on a logotype which would be the basis of the identity as we both agreed it'd allow flexibility. I'd also start devising approaches to take such as styles to accompany a logotype. I mentioned that the brief doesn't have a target audience for me to to work towards, so suggested that in the time between the next meeting that Emma establishes her target audience.