Friday 28 May 2010
creating final image...
finaly i decided to use my painting in my fianl image and using the same technique as combining the prevous images combinded these using the colour burn tool tool i also made some colour adjustments to my final to bring out the color a bit more.
making final image...
i decided to combine these to images together in photoshop. i layer both the images and used the colour burn tool to blend the images together.
making final image....
This is the start of my final image...
i have chossen decided to use the3 image of a sailor i need drew over my final using the pen tool in photoshop to creat this effect. i found a image of a bird cage and a bird and decided to use these in my image and drew over these to.
scanned in objects...
these are some bits i decided to scan in which could be used in my final peice.....
turning a digital image into a neg (darkroom print)
this is my final image made in the darkroom when turning my digital image into a neg. i used the normal darkroom process but rather then using a regular neg used a 10by 8 one instead.
lift printing
Lith printing is a simple but ‘different’ Black & White printing technique, using ‘ordinary’ B&W or colour negatives, a suitable black & white paper and Lith developer – from which the process gets its name. It involves heavily overexposing a suitable black and white paper – usually by two or three stops – and then only partially developing it in a highly diluted lith developer.
This process has often been shrouded in mystery and described as ‘unduplicatable’ with no two prints ever looking similar. I don’t agree with this and have attempted to unravel the mechanics of the process in order that, by better understanding what is happening, one may control and therefore predict results. As is often the case with such things, it turns out that the rules of the game are actually quite simple. Certainly it is a very controllable process and it is possible to reproduce results very closely.
This is a very creative printing process and the results are unlike conventional black and white printing in several respects. The prints produced using this technique can often be more ‘arty’ looking than conventional black & white prints.
Lith prints are colourful even before toning and may contain warm coloured mid and light tones of unusual delicacy and beauty, sitting alongside shadow tones with the opposite properties of high contrast and cold colour. Having said that, the process is extremely flexible and prints may be made with quite different properties. They may be extremely warm or very cold toned. They may be soft and subtle or gritty and graphic. The actual colours vary with the materials and techniques used. This is an extremely expressive medium and will take your photographic creativity onto a new plane.
This process has often been shrouded in mystery and described as ‘unduplicatable’ with no two prints ever looking similar. I don’t agree with this and have attempted to unravel the mechanics of the process in order that, by better understanding what is happening, one may control and therefore predict results. As is often the case with such things, it turns out that the rules of the game are actually quite simple. Certainly it is a very controllable process and it is possible to reproduce results very closely.
This is a very creative printing process and the results are unlike conventional black and white printing in several respects. The prints produced using this technique can often be more ‘arty’ looking than conventional black & white prints.
Lith prints are colourful even before toning and may contain warm coloured mid and light tones of unusual delicacy and beauty, sitting alongside shadow tones with the opposite properties of high contrast and cold colour. Having said that, the process is extremely flexible and prints may be made with quite different properties. They may be extremely warm or very cold toned. They may be soft and subtle or gritty and graphic. The actual colours vary with the materials and techniques used. This is an extremely expressive medium and will take your photographic creativity onto a new plane.
Tuesday 18 May 2010
RESEARCH...Vault49
Vault49 is an internationally award-winning design studio with a worldwide practice and reputation for creating world-class illustration, photography, and motion graphics. Vault49 work in a wide variety of materials and media to provide a full complement of design services; from initial concepts through to design implementation and production. Vault49’s extensive portfolio is characterised by a focus on craftsmanship, digital collage and photo-collage and an expressive use of colour which, when combined, rewards repeat visits with new discoveries and an appreciation for their attention to detail.
Vault49’s heritage is in traditional crafts and production processes. They are storytellers in the classic fashion. A typical mixed-media design might originate with a photo-shoot (produced and art directed by Vault49’s award winning photographic team) which is then collaged together with intricately detailed hand-drawn elements, scanned and combined with digital illustration and silk screened textures to create a layered artwork full of depth. Vault49 passionately believe that their art is more than just a profession, more than just ‘work’… it is a lifetime dedication to beauty and fine living.
Their broad range of styles and talent has led to them becoming a design team of choice for many discerning clients around the world who want to enjoy the benefits of a highly developed creative relationship but who do not wish to be tied down to a particular style or look. Clients who Vault49 have made happy include Vodafone, Bacardi, Samsung, Nike, Honda, Pepsi, Levis, Coca-Cola, Infiniti Cars, Mastercard, MTV, The New York Times, The Times (London) and Virgin.
RESEARCH... Sarah Howell
Sarah Howell works mainly with figurative and fashion imagery. Collaborating with photographers, she initiates a work with a collage base, and then scans drawings and paintings with various mixed media techniques to create a textured artwork. This sees photographic collage smattered with graffiti and energized by vivid illustration, creating a dark, often edgy but always beautiful and bright result. Sarah is originally from Sydney, where she studied a Bachelor of Fine Arts in painting. To date, Sarah has had her work featured in many magazines including the Face, Grafik, Tank, Oyster and Gloss, Flaunt, Digit, Computer Arts, Observer Magazine, Maxim, 125 and Dedicate and Illustrated Ape.
i really like sarah howell work i like the way she was combined photographs with illustration and fashion,her work is very unique.
Wednesday 12 May 2010
tracing..
i arranged the image into the final layout i wanted it to be in. i then printed off the image a traced the outline of the image and scanned it into photoshop.
image i could use in final....
old image i could use in final
image turned into negative in photoshop
painting to scan
this is a painting i did which has been scratched using sand paper to add effect. i then scanned this in to photoshop to use in layering my final image.
Thursday 29 April 2010
TURNING A DIGIGTAL IMAGE INTO A NEG.....
On the left is the image i have choosen and next to it is the image converted into a neg. first i chose my image with i wanted to change, i then opened this image in photoshop and inverted the image and did the right adjustments using the levels tool to get the right colour balence.finaly i printed the negitive i made onto acetate ready to take into the darkroom.
CONTACTS
This is a contact sheet from a previous shoot i have done on the National Maritime museum i am going to use these images to try out different techniques i could use to be scanned in to make my final image.
MY BRIEF......
National Diploma in Photography & Digital Imaging 2010
Project Title: Play 2
Lecturers: Arlo Tinson, Tim Lawrence
UNIT 27- Experimental Imagery in Photography
Description of Unit
Unit title: 27. Experimental Imagery in Photography
Description
The aim of this unit is to enable learners to explore, experiment with and understand the use of specialist materials, techniques and processes within a chosen pathway. They should demonstrate their skills and understanding in both the developmental work and the production of finished work. Learners will be made aware of the health and safety requirements whilst understanding the significance of professional practice for the development of their own work.
Date set: 4th March 2010
Completion: 26th May 2010
Review: 27th April
Learning outcomes
On completion of this unit a learner should:
1 Be able to explore and test a range of techniques, materials, processes and media
2 Be able to create images through selecting appropriate techniques, materials and
processes to meet their intentions
3 Understand the contexts in which imagery exists
4 Be able to evaluate and refine developmental work to produce outcomes.
Introduction:
Artists and designers use technology, both new and traditional, to push the
boundaries of image making, by exploring new ways to use materials, techniques and subjects. Diverse photographic media have often been brought together with this
aim. This approach is considered a valuable and creative means of communicating
intentions.
This unit extends learners’ creative and technical skills through the development of
research skills and investigative approaches to manipulating materials, processes,
procedures and subjects. This could be considered supplementary to the accepted
range of conventional techniques. The development and understanding of
photographic processes, and how photographic imagery can be manipulated and
challenged, is central to this investigation.
Although the unit does contain a degree of technical consideration and focus, these
are not the sole concerns. Learners will be encouraged to develop an individual and
creative response to applying techniques which may be combined to originate new
methods of working. Learners may also attempt to combine different techniques to
produce innovative examples of new methods of enhancing photographic imagery.
The key areas of research, evaluation, practical experimentation, selection and
production are all covered in this unit. There will be opportunities for learners to
challenge and test techniques, refine their ideas and select appropriate processes
with which to make finished work. As learners’ understanding grows they may find
the sophistication of their ideas improves, particularly as they learn to recognise the
potential for producing engaging imagery. Learners will consider and challenge the
context in which imagery exists, for instance projections onto surfaces and
installations.
Knowledge and understanding gained in this unit can be applied across a range of
disciplines such as graphic design, 3D design and fine art. A key factor in the unit is
for learners to achieve a workable balance between technical considerations and
creative intentions.
Finished requirements – Tasks
A complete blog detailing the process
A final print/s combining contrasting imagery into one coherent piece
List of activities:
Week 1
Make a blog and email URL to Lecturers
Take images on film and/or digital
Put contacts on separate page in blog with annotation
Provide links to contextual research
Week 2
Continue taking images and put contacts on blog
Scan in imagery (drawings, wall paper, textures, paint, board etc)
Use Live-trace in Illustrator
Week 3
Produce a digital negative from your images and Lith print
Continue Contextual investigation
Week 4
Continue to Lith print
Continue Contextual investigation
Week 5
Amalgamate an image using contrasting source material into one coherent piece.
Make a brush in Illustrator to be used on the piece.
3 Versions to go on blog.
Week 6
Complete final image, print and evaluate
The Process
The structure of the project will be as follows:
Brief> Discuss and annotate
Responses and ideas> Document all ideas and record on blog
Research> purposefully research and evidence a range of diverse and considered visual sources in response to given themes or briefs P1, P3, M1
Planning and Development> use a range of traditional and/or digital lens-based technologies and processes P2, M1, D1
Realisation> After careful planning begin the process of making P2, M1, D1
Presentation> Present finished images M2, D1
Evaluation> Reflect on your progress throughout the project and record your thoughts in your workbook P4, M2, D1
Indicative reading for learners
Books
Berger J — 100 Habits of Successful Graphic Designers: Insider Secrets from Top Designers on Working Smart and Staying Creative (Rockport Publishers Inc, 2005) Blais J and Ippoloto J — At the Edge of Art (Thames & Hudson, 2006) Caplin S and Banks A — The Complete Guide to Digital Illustration (Ilex, 2003)
Kerlow I — The Art of 3D Animation and Effects (John Wiley, 2004) Klanten R — Hidden Track: How Visual Culture is Going Places (Die Gestalten Verlag, 2005)
Klanten R — Illusive: Contemporary Illustration and its Context (Die Gestalten
Verlag, 2006)
Lhotka B, Krause D and Schminke K — Digital Art Studio: Techniques for Combining Inkjet Printing with Traditional Art Materials (Watson-Guptill Publications Inc, 2004)
McClelland D and Fuller L — Photoshop CS2 Bible (Hungry Minds Inc, 2005)
Zeegan L — Digital Illustration: A Masterclass in Digital Image-Making (RotoVision, 2007)
Journals
Computer Arts Magazine
Creative Review
Design Magazine
Digit Magazine
Websites
www.adobe.com
www.computerarts.co.uk
www.dafont.com
www.digitmag.co.uk
www.good-tutorials.com
http://www.debutart.com/artist/jackdaw
http://www.vault49.com/
http://www.patrickmorgan.co.uk/home.html
http://www.marinacaruso.com/
http://www.debutart.com/artist/sarah-howell
http://www.aoiportfolios.com/artist/billmcconkey/
http://www.debutart.com/artist/kid-spaniard
Other reading
Appropriate software manuals
NATIONAL DIPLOMA IN ART & DESIGN
Unit 27: Experimental Imagery in Photography
Assignment: Play 2
Name:
Assessment Criteria
P1 explore and test a range of techniques, materials, processes and media
P2 create images through selecting appropriate techniques, materials and processes to meet their intentions
P3 describe the contexts in which imagery exists
P4 evaluate and refine developmental work to produce outcomes.
M1 approach a range of techniques, materials, processes and media in a challenging and coherent manner in order to create individual images
M2 effectively evaluate and refine developmental work to achieve
purposeful outcomes that have considered the context in which imagery can exist.
D1 work independently, with understanding and skill in challenging and reviewing techniques and processes to create innovative and exciting outcomes.
Project Title: Play 2
Lecturers: Arlo Tinson, Tim Lawrence
UNIT 27- Experimental Imagery in Photography
Description of Unit
Unit title: 27. Experimental Imagery in Photography
Description
The aim of this unit is to enable learners to explore, experiment with and understand the use of specialist materials, techniques and processes within a chosen pathway. They should demonstrate their skills and understanding in both the developmental work and the production of finished work. Learners will be made aware of the health and safety requirements whilst understanding the significance of professional practice for the development of their own work.
Date set: 4th March 2010
Completion: 26th May 2010
Review: 27th April
Learning outcomes
On completion of this unit a learner should:
1 Be able to explore and test a range of techniques, materials, processes and media
2 Be able to create images through selecting appropriate techniques, materials and
processes to meet their intentions
3 Understand the contexts in which imagery exists
4 Be able to evaluate and refine developmental work to produce outcomes.
Introduction:
Artists and designers use technology, both new and traditional, to push the
boundaries of image making, by exploring new ways to use materials, techniques and subjects. Diverse photographic media have often been brought together with this
aim. This approach is considered a valuable and creative means of communicating
intentions.
This unit extends learners’ creative and technical skills through the development of
research skills and investigative approaches to manipulating materials, processes,
procedures and subjects. This could be considered supplementary to the accepted
range of conventional techniques. The development and understanding of
photographic processes, and how photographic imagery can be manipulated and
challenged, is central to this investigation.
Although the unit does contain a degree of technical consideration and focus, these
are not the sole concerns. Learners will be encouraged to develop an individual and
creative response to applying techniques which may be combined to originate new
methods of working. Learners may also attempt to combine different techniques to
produce innovative examples of new methods of enhancing photographic imagery.
The key areas of research, evaluation, practical experimentation, selection and
production are all covered in this unit. There will be opportunities for learners to
challenge and test techniques, refine their ideas and select appropriate processes
with which to make finished work. As learners’ understanding grows they may find
the sophistication of their ideas improves, particularly as they learn to recognise the
potential for producing engaging imagery. Learners will consider and challenge the
context in which imagery exists, for instance projections onto surfaces and
installations.
Knowledge and understanding gained in this unit can be applied across a range of
disciplines such as graphic design, 3D design and fine art. A key factor in the unit is
for learners to achieve a workable balance between technical considerations and
creative intentions.
Finished requirements – Tasks
A complete blog detailing the process
A final print/s combining contrasting imagery into one coherent piece
List of activities:
Week 1
Make a blog and email URL to Lecturers
Take images on film and/or digital
Put contacts on separate page in blog with annotation
Provide links to contextual research
Week 2
Continue taking images and put contacts on blog
Scan in imagery (drawings, wall paper, textures, paint, board etc)
Use Live-trace in Illustrator
Week 3
Produce a digital negative from your images and Lith print
Continue Contextual investigation
Week 4
Continue to Lith print
Continue Contextual investigation
Week 5
Amalgamate an image using contrasting source material into one coherent piece.
Make a brush in Illustrator to be used on the piece.
3 Versions to go on blog.
Week 6
Complete final image, print and evaluate
The Process
The structure of the project will be as follows:
Brief> Discuss and annotate
Responses and ideas> Document all ideas and record on blog
Research> purposefully research and evidence a range of diverse and considered visual sources in response to given themes or briefs P1, P3, M1
Planning and Development> use a range of traditional and/or digital lens-based technologies and processes P2, M1, D1
Realisation> After careful planning begin the process of making P2, M1, D1
Presentation> Present finished images M2, D1
Evaluation> Reflect on your progress throughout the project and record your thoughts in your workbook P4, M2, D1
Indicative reading for learners
Books
Berger J — 100 Habits of Successful Graphic Designers: Insider Secrets from Top Designers on Working Smart and Staying Creative (Rockport Publishers Inc, 2005) Blais J and Ippoloto J — At the Edge of Art (Thames & Hudson, 2006) Caplin S and Banks A — The Complete Guide to Digital Illustration (Ilex, 2003)
Kerlow I — The Art of 3D Animation and Effects (John Wiley, 2004) Klanten R — Hidden Track: How Visual Culture is Going Places (Die Gestalten Verlag, 2005)
Klanten R — Illusive: Contemporary Illustration and its Context (Die Gestalten
Verlag, 2006)
Lhotka B, Krause D and Schminke K — Digital Art Studio: Techniques for Combining Inkjet Printing with Traditional Art Materials (Watson-Guptill Publications Inc, 2004)
McClelland D and Fuller L — Photoshop CS2 Bible (Hungry Minds Inc, 2005)
Zeegan L — Digital Illustration: A Masterclass in Digital Image-Making (RotoVision, 2007)
Journals
Computer Arts Magazine
Creative Review
Design Magazine
Digit Magazine
Websites
www.adobe.com
www.computerarts.co.uk
www.dafont.com
www.digitmag.co.uk
www.good-tutorials.com
http://www.debutart.com/artist/jackdaw
http://www.vault49.com/
http://www.patrickmorgan.co.uk/home.html
http://www.marinacaruso.com/
http://www.debutart.com/artist/sarah-howell
http://www.aoiportfolios.com/artist/billmcconkey/
http://www.debutart.com/artist/kid-spaniard
Other reading
Appropriate software manuals
NATIONAL DIPLOMA IN ART & DESIGN
Unit 27: Experimental Imagery in Photography
Assignment: Play 2
Name:
Assessment Criteria
P1 explore and test a range of techniques, materials, processes and media
P2 create images through selecting appropriate techniques, materials and processes to meet their intentions
P3 describe the contexts in which imagery exists
P4 evaluate and refine developmental work to produce outcomes.
M1 approach a range of techniques, materials, processes and media in a challenging and coherent manner in order to create individual images
M2 effectively evaluate and refine developmental work to achieve
purposeful outcomes that have considered the context in which imagery can exist.
D1 work independently, with understanding and skill in challenging and reviewing techniques and processes to create innovative and exciting outcomes.
RESEARCH... Jonathan Barnbrook
jonathan Barnbrook is a British graphic designer and typographer. Born in Luton n 1966, Barnbrook trained at Central St Martin's and at the Royal College of Art (both in London)
Barnbrook is arguably most-recognised for his work on the cover artwork of David Bowie's 2002 album Heathen which featured the debut for his 'Priori' typeface. This is particularly appropriate as Barnbrook cites record cover artwork as an early design influence, and possibly the interest that drew him to graphic design. Other well known fonts designed by Barnbrook (and released through ‘VirusFonts’) include Bastard, Exocet, False Idol, Infidel, Moron, Newspeak, Olympukes, Sarcastic, Shock & Awe, and Tourette. Many have emotive and controversial titles reflecting the style and themes of Barnbrook's work.
From 1997-2003 Barnbrook collaborated with 'Young British Artist' Damien Hirst, most notably on the design, layout and typography of his book I Want To Spend the Rest of My Life Everywhere, with Everyone, One to One, Always, Forever, Now and on artwork associated with his restaurant Pharmacy.
A major recurring theme of Barnbrook's graphic design is political work and work with a social conscience. He describes as a major influence to his work 'an inner anger which is a response to all the unfairness that is in this world'. He has stated his ambition to use 'design as a weapon for social change'
Jonathan Barnbrook is a british graphic designer his work is very simple and does use many colours he does alot of type photography i feel he is also a great person to look at for this project.
Barnbrook is arguably most-recognised for his work on the cover artwork of David Bowie's 2002 album Heathen which featured the debut for his 'Priori' typeface. This is particularly appropriate as Barnbrook cites record cover artwork as an early design influence, and possibly the interest that drew him to graphic design. Other well known fonts designed by Barnbrook (and released through ‘VirusFonts’) include Bastard, Exocet, False Idol, Infidel, Moron, Newspeak, Olympukes, Sarcastic, Shock & Awe, and Tourette. Many have emotive and controversial titles reflecting the style and themes of Barnbrook's work.
From 1997-2003 Barnbrook collaborated with 'Young British Artist' Damien Hirst, most notably on the design, layout and typography of his book I Want To Spend the Rest of My Life Everywhere, with Everyone, One to One, Always, Forever, Now and on artwork associated with his restaurant Pharmacy.
A major recurring theme of Barnbrook's graphic design is political work and work with a social conscience. He describes as a major influence to his work 'an inner anger which is a response to all the unfairness that is in this world'. He has stated his ambition to use 'design as a weapon for social change'
Jonathan Barnbrook is a british graphic designer his work is very simple and does use many colours he does alot of type photography i feel he is also a great person to look at for this project.
Wednesday 21 April 2010
RESEARCH...Why not associates
Why not associates is a British graphic design company with global reach.
We turn our passion for design into commercial success for clients in business, government and the public sector.
For nearly two decades, why not associates has been creating innovative work for clients large and small. our team works in many different media
on many types of projects, including corporate identity, digital design,
motion graphics and television commercial direction, editorial design, environmental design, publishing, and public art.
This breadth of experience means that we can orchestrate complex campaigns for global brands such as Nike, first direct bank, virgin records and the BBC. We also cherish smaller locally based commissions such as public relations for regional government and public art installations for specific communities. Regardless of size, we collaborate closely with clients
to come up with a solution that we can all be happy about. Effective communication contains an element of surprise and often the best way to solve a problem is to turn it on its head. We’re not afraid to run through a dark room with an arm full of lighted fireworks. Fingers grow back, and
great work lasts forever.
Why not associates are a group of graphic designers i really like their work and find it very Why not associates. unlike us Why not associates work on a large scale doing billboard and even have made a walkway(look above). Their work uses a range of diffrent bright colours that make it stand out from others they also use alot of layering in their work to.
We turn our passion for design into commercial success for clients in business, government and the public sector.
For nearly two decades, why not associates has been creating innovative work for clients large and small. our team works in many different media
on many types of projects, including corporate identity, digital design,
motion graphics and television commercial direction, editorial design, environmental design, publishing, and public art.
This breadth of experience means that we can orchestrate complex campaigns for global brands such as Nike, first direct bank, virgin records and the BBC. We also cherish smaller locally based commissions such as public relations for regional government and public art installations for specific communities. Regardless of size, we collaborate closely with clients
to come up with a solution that we can all be happy about. Effective communication contains an element of surprise and often the best way to solve a problem is to turn it on its head. We’re not afraid to run through a dark room with an arm full of lighted fireworks. Fingers grow back, and
great work lasts forever.
Why not associates are a group of graphic designers i really like their work and find it very Why not associates. unlike us Why not associates work on a large scale doing billboard and even have made a walkway(look above). Their work uses a range of diffrent bright colours that make it stand out from others they also use alot of layering in their work to.
RESEARCH...David Carson
David Carson is an American graphic designer. He is best known for his innovative magazine design, and use of experimental typography. He was the art director for the magazine Ray Gun. Carson was perhaps the most influential graphic designer of the nineties. In particular, his widely-imitated aesthetic defined the so-called "grunge" era.
He was born September 8th, 1952 in Corpus Christi, Texas. Carson and his family moved to New York City four years later. Since then he has traveled all around the world but has maintained New York as his base of operations. Carson now owns two studios; one in New York and another in Charleston, South Carolina.
Because of his father, Carson traveled all over America, Puerto Rico, and the West Indies. These journeys affected him profoundly and the first signs of his talent were shown at a very young age; however, his first actual contact with graphic design was made in 1980 at the University of Arizona on a two week graphics course. He attended San Diego St. University as well as Oregon College of Commercial Art. Later on in 1983, Carson was working towards a Bachelor of Arts in Sociology when he went to Switzerland, where he attended a three-week workshop in graphic design as part of his degree. This is where he met his first great influence, who also happened to be the teacher of this course, Hans-Rudolph Lutz.
David Carson uses the same techniques as Neville Brody in his work like the use of the Russian constrictivism colours and layering although his work is alot less simplistic. His typography work in my opion is some of his best.
He was born September 8th, 1952 in Corpus Christi, Texas. Carson and his family moved to New York City four years later. Since then he has traveled all around the world but has maintained New York as his base of operations. Carson now owns two studios; one in New York and another in Charleston, South Carolina.
Because of his father, Carson traveled all over America, Puerto Rico, and the West Indies. These journeys affected him profoundly and the first signs of his talent were shown at a very young age; however, his first actual contact with graphic design was made in 1980 at the University of Arizona on a two week graphics course. He attended San Diego St. University as well as Oregon College of Commercial Art. Later on in 1983, Carson was working towards a Bachelor of Arts in Sociology when he went to Switzerland, where he attended a three-week workshop in graphic design as part of his degree. This is where he met his first great influence, who also happened to be the teacher of this course, Hans-Rudolph Lutz.
David Carson uses the same techniques as Neville Brody in his work like the use of the Russian constrictivism colours and layering although his work is alot less simplistic. His typography work in my opion is some of his best.
RESEARCH.... Neville Brody
Neville Brody (born April 23, 1957 in London) is an English graphic designer, typographer and art director.
Neville Brody is an alumnus of the London College of Communication and studied at Hammersmith College of Art under Ruskin Spear (alumni include Glenn Tutsell, Michael Peters and Howard Milton) and is known for his work on The Face magazine (1981–1986) and Arena magazine (1987–1990), as well as for designing record covers for artists such as Cabaret Voltaire and Depeche Mode.
He was one of the founding members of FontWorks in London and designed a number of notable typefaces for them. He was also partly responsible for instigating the FUSE project an influential fusion between a magazine, graphics design and typeface design. Each pack includes a publication with articles relating to typography and surrounding subjects, four brand new fonts that are unique and revolutionary in some shape or form and four posters designed by the type designer usually using little more than their included font.
Initially working in record cover design, Brody made his name largely through his revolutionary work as Art Director for The Face magazine. Other international magazine and newspaper directions have included City Limits, Lei, Per Lui, Actuel and Arena, together with the radical new look for two leading British newspapers the The Guardian and The Observer (both newspaper and magazine) Brody has consistently pushed the boundaries of visual communication in all media through his experimental and challenging work, and continues to extend the visual languages we use through his exploratory creative expression. In 1988 Thames & Hudson published the first of two volumes about his work, which became the world's best selling graphic design book. Combined sales now exceed 120,000. An accompanying exhibition of his work at the Victoria and Albert Museum attracted over 40,000 visitors before touring Europe and Japan.
i really like Neville Brody illustration work and i think fits in great with this project. His work is very simple and you can see that hes also built up layers like were doing within his work.The simplicity of his work makes it really stand out from others. I also really like the way he has used his colours in his work his work is almost like the Russian Constructivism only using colours like red,white and black to make it stand out.
Neville Brody is an alumnus of the London College of Communication and studied at Hammersmith College of Art under Ruskin Spear (alumni include Glenn Tutsell, Michael Peters and Howard Milton) and is known for his work on The Face magazine (1981–1986) and Arena magazine (1987–1990), as well as for designing record covers for artists such as Cabaret Voltaire and Depeche Mode.
He was one of the founding members of FontWorks in London and designed a number of notable typefaces for them. He was also partly responsible for instigating the FUSE project an influential fusion between a magazine, graphics design and typeface design. Each pack includes a publication with articles relating to typography and surrounding subjects, four brand new fonts that are unique and revolutionary in some shape or form and four posters designed by the type designer usually using little more than their included font.
Initially working in record cover design, Brody made his name largely through his revolutionary work as Art Director for The Face magazine. Other international magazine and newspaper directions have included City Limits, Lei, Per Lui, Actuel and Arena, together with the radical new look for two leading British newspapers the The Guardian and The Observer (both newspaper and magazine) Brody has consistently pushed the boundaries of visual communication in all media through his experimental and challenging work, and continues to extend the visual languages we use through his exploratory creative expression. In 1988 Thames & Hudson published the first of two volumes about his work, which became the world's best selling graphic design book. Combined sales now exceed 120,000. An accompanying exhibition of his work at the Victoria and Albert Museum attracted over 40,000 visitors before touring Europe and Japan.
i really like Neville Brody illustration work and i think fits in great with this project. His work is very simple and you can see that hes also built up layers like were doing within his work.The simplicity of his work makes it really stand out from others. I also really like the way he has used his colours in his work his work is almost like the Russian Constructivism only using colours like red,white and black to make it stand out.
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