stitch styles for book binding

In order to feel fully informed around how books/ magazines are composed (for the proposal studio project) I chose to research binding techniques, and stitch styles used to adhere documents. 

Common binding methods;

saddle

perfect bind 

coil binding

comb binding

wire-o binding

case binding

Other methods;

http://d2yl7cpdjj152h.cloudfront.net/upload/learn/features/print/2800/3167/3177/SaddleStitch.jpg

http://mrofficeexpress.com.au/upload/products/50.jpg
http://www.ibookavenue.com/picture/1322559381.case%20binding%20(Copy).jpg

http://www.bluestarprintsolutions.co.uk/assets/images/spiral_binding-01.png
http://s7d1.scene7.com/is/image/officedepot/432255_scene7?$OD-Dynamic$&wid=450&hei=450
https://upload.wikimedia.org/wikipedia/commons/thumb/e/e1/Comb_bind_step4.JPG/150px-Comb_bind_step4.JPG
http://buy101.com/wp-content/uploads/2010/08/Calendar-.jpg

character animation

In this process and production lesson we were learning how animation can be added to basic characters using adobe aftereffects software.

I had never worked with aftereffects in using this typeof editing, so I chose a very very basic character to apply my animation on to.

inspired by these child drawn cartoons research on google images, I created my own in a similar style using Adobe Illustrator software. 

The pen tool was used to outline the basic shapes, and then the stroke and fill features to add colour to distinguish each separate component of the character. It was essential to have each part of the character on a different level, so that when they ere imported to aftereffects, each section of the body could be manipulated separately in order to form a smooth animation. I hadn't realised the extent to which each part needed to be separated as I originally incorporated the hand and arm in to the same layer, before realising in after effect I could then not formulate the waving hand movement I wanted due to this. 

Correcting this issue then made the animation a lot more realistic as the arm and hand could each be transformed separately to form a more life like movement. However this still cold b imposed, as the "stick-man" like arm meant that no movement could be formed to move as an elbow would on a real human. I still feel the wave has a full effect tho- especially when accompanied with smaller less subtle movement of both the right hand in to a neutral position and the slight movement of the right leg. 

Above is a screen shot of the animation being applied at key anchor points. This is a time consuming process- however when continually manipulated gradual improvements refine the movements and make them look much more effective. This process still needs a lot more practice with however. As the timeline editing with the 'stopwatch' icons to set certain locations/ sizes at certain time sin the animation was a little difficult to keep up with.

Im looking forward to improving these skills, as its clear how professional an outcome can look from this form of editing. 

Below is the rendered version of my short 10 second animation.

http://cliparts.co/cartoon-child

https://vimeo.com/165880239

photos 2

As the first set of photographs taken for this project were unsuccessful, it was essential that these be re-done.

However we were unable to rent the same appropriate, professional studio suite as previously; and were also unable to have access to the same camera facilities. 

Because of this, the photos this time were set and staged within the graphic mac suite on a smaller set-up with less space and fewer specialist facilities. Alongside this, the photos had to be taken on a slightly older camera and were therefore a lower resolution consequently. 

However, due to close deadlines, this was the only time we could capture the shots we desperately needed, so the less professional hardware had to be the compromise.

By doing this, it meant that from the outset more computer editing and manipulation was needed, which is not ideal as it is much easier and produces a much higher quality finish if the initial photographs are too at a very professional standard. 

The same set up for each shot was tried to be used- however it was no longer possible to shot the portrait in which the figure is holding the bag content, as the light set up area was too small to do this.

Here demonstrates the limitations of the workspace (top image) and the poorer quality produced by this camera.

Below are the edited versions of some of the best images- and are to be used in the magazine I am planning to produce for my studio proposal. 

The editing was completed using adobe photoshop software, with manipulation of brightness and levels, alongside being emphasised by the darkening and lightening of some areas by using her dodge and burn tools. 

hollywood formula

In this seminar we studied how every process requires a narrative- and that there is a "hollywood formula' in which has an ideal structure. 

This could be linked to our studio and proposal work as this too has to have a continual story in which there is flow as well as being able to spark interest

As you can see from this diagram, a story just have a beginning a middle and an end. 

BEGINNING- set the scene, opens up a "hook" in which will captivate the audience. This sets a story which is ready to be unfolded. Character, story and setting are all described in "The Lighthouse" in the first act, this set up responsible for 25% of the story, and also contains one plot point in this example.

MIDDLE- the middle sections contains majority of the story points and adds the detail and story to the intended theme. E.g. action, confrontation, crisp happen within this section. 50% of the story is within this span of time, with several plot points excelling the story from one scene to the next.

END- The ending is essential a story as this has to satisfy the audiences needs and be a concluding outcome in which they are content with the cut off point- whether this be positive or negative or even be unresolved with a cliff hanger end in which questions are left unanswered. The end should link back to how the story commenced as the content has come round full circle to now close. This 'act 3' is also 25% of the story and should never be a 'let down' to a viewer who has remained intrigued throughout. 

The "best advert of 2010" mouse and cheese uses a contrasting plot point and audio soundtrack to build interest and to end in an unsuspecting way- leading the audience on a roller coaster of events.

https://www.youtube.com/watch?v=ejEBSeddCg8 

https://unilearn.hud.ac.uk/bbcswebdav/pid-1669768-dt-content-rid-2519457_1/courses/TFD1413-1516/3%20Act%20Template.pdf

narrative

In this lecture we were taught of how narratives are essential in a creative's design process. 

As Aristotle quotes "A whole is that which has a beginning, a middle, and an end." Of which we can now refer to as a 3 act structure, which can be linear in its sequence of approach, or can be non-linear in that the narrative can not seem to run in order. This is seen when some popular films start with the conclusion of the story before the previous information is revealed. 

The linear approach to narrative, is what which is illustrated in the diagram above. The setup of the story then leads to a peak of confrontation before actions working to end with a final resolution. 

This is known as Freytag's Pyramid

Rather Quiller Couch noted that he thought there was 8 essential stories in which are narrative seeks to explore. These were believed to be man against; man, fate, society, supernatural, machine, god, self or nature. And in the case of the recent Ben Stiller movie "Walter Mitty", each of these is individually explored to make up the narrative of the full film.

Exposition- e.g. crawler text in the star wars franchise films (setting scene and context). This leads on to the narrative- this is an account of connected events, "that which can be narrated" (Feldman)  in order to usually visually narrate an explanation of a solution.  Examples of companies which work on the premise of connecting events- are feed music.com, basilico. Finally denouement- ends with the story you were really trying to convey throughout, what is the; issue, event, characters and context.

Story Based Meanings

Duarte- " The audience does not have to tune themselves to you- you need to tune your message to them".
This is meaning that in the narrative of these companies, the meaning was predetermined and this lead to the evolvement of the story around what they want. An example of this is from the shoes brand TOMS. This company was established in order to fundamentally resolve the effect of poverty on material possessions in poorer countries- yet they were unsure how to go about this. This is the ESTABLISHMENT stage. Then it was noticed that "an absence of a shoe" was significantly prevalent, and the EPIPHANY OF PHILOSOPHY to change this came about. In order to supply suitable shoes to those who needed them, they initialised a "one for you, one for me" kind of approach in which when someone purchased a pair of TOMS, a pair was paid for for someone who needed them too. REALISED AMBITION came when this style of shoe became a trend, in which more and more purchases, resulted in even more shoe donations to those elsewhere.

Structure

• IMAGERY- redbull "aussie fishy story" illustration and cartoons are used to portray the narrative.
• TONE OF VOICE- Massimo Vignelli sets a style in which can be seen in his book designs.
• SYMBOLS, ICONS, AND COLOURS- should have a 'glance ability'. Miles and Civaschi's "life in 5 seconds" symbols for stories. Logo design such as sony vaio- portrays sound waves and binary code within to merge analogue and digital. A.k.a semiotics.
• HIERARCHY OF INFORMATION- how to present- e.g. rules like in pixar's 22 rules of story telling. e.g. short and sweet, "i have a dream", memories or 6 word story rules (Ernest Hemingway) in which a limit of 6 words is best e.g. "for sale, baby shoes, never worn".
• NAVIGATION- is the narrative linear or non linear. Does the moment gradually increase of is there peaks of interest and engagement like in Christopher Nolans' visualisation of interest pieces. Colour can navigate scenes, as script colour (incredibles colour storyboard), Plutchik's 'colour wheel of emotion' as a guide for movement between colours. 

Poiesis- to make

Praxis- to practice

Theoria- to look at

https://upload.wikimedia.org/wikipedia/commons/thumb/a/af/Freytags_pyramid.svg/2000px-Freytags_pyramid.svg.png

http://byretheatre.com/wp-content/uploads/2015/06/Movie-HD-Wallpaper-The-Secret-Life-Walter-Mitty.jpg
https://www.youtube.com/watch?v=uPiQNqbiZa0
https://unilearn.hud.ac.uk/bbcswebdav/pid-1669804-dt-content-rid-2519867_1/courses/TFD1413-1516/11%20Narrative%281%29.pdf

physical studio 3

In this processes and production session we focused on observational drawings.  In groups of three we worked on a rotating cycle of items to view and then represent on paper. Some chose to use plain 42 white paper for this drawing task; however I selected a paper board which had random material pre-attached so each of my studies was different and on a unique medium. As shown in the photographs- there is plain paper, blue lines paper, orange printed card and tracing paper on here. 

The first objects drawn are shown here. On the table in front was a collection of 3d letter form arranged randomly.  In order to draw these as realistically as possible measurements using a pencil were used from how the objects appeared in our direct eye lines. Here is the letter "S" I drew, alongside the angle in which I viewed it from.

The second collection of objects were boxed and shoe boxes stacked and arranged on the table. This time a focus was on the tone seen within. To do this grey tone pens were used in a range of shades to add light and shade to specific areas of a show box. This was drawn first as a pencil sketch, and then I used a tracing paper layer to add the grey shades. This is effective as this can be lifted to reveal the original outline, however the pens I used didn't work as well on this type of paper.

My next observational drawing was of the set-up featured in the photograph. This was done as a pencil sketch and I tried particularly to portray the objects as 3d on the paper. I think her the screen of the small monitor an the wire and plug are the closest to reality.

The next couple of drawings were doodles of text and typefaces I could see on other parts of the assembled objects. 

territory studios lecture

Territory studios is a London based company established by three founders, including David Sheldon Hicks. They're current main works include digital art and screen graphics for film interfaces, with a strong repertoire of blockbuster films. 

Hick gave three classic examples of screen graphic development and how they need to convey a story/ narrative as concisely and as quickly as possible.

1. star wars (the target screens)
2. minority report (actor and graphic interacting together as a new concept)
3. iron man (intelligent graphics)

Summing up that graphics are essential in creating a dialogue.

Other film works include;

• prometheus
• guardians of the galaxy
• avengers: age of ultron
• jupiter ascending
• ex machina
• the martian 

In prometheus the graphics were used physically on set for perfect user interaction. However he explained how this led to stressful experiences as the unpredictable happens and spontaneous reactions are needed quickly as solutions are required as if live. 

Guardians of the galaxy was Hicks' favourite film brief as he linked one of the three key requirements to his own personal past experiences. These three were 80's culture, sci fi and the essential marvel elements. These were all linked seamlessly in tot he graphic interfaces use din the film by using 80's colour and glows alongside a science format which had human-like imperfections and used combined to form the marvel character profiles.  One piece that showed this was the tape graphic which was turned around in just a day despite being animated alongside of being designed.

The avengers film, was something territory studios worked on straight after the guardians of the galaxy work.  It was a very large project nd included 7 designers, 200 screens and 9 month completion. The work they started created had many characteristics therefore of their previous work, which in reflection was decided did not fit the brief as required. A more 'real world' inclusion was needed- in particular this is done in a 3d cell animation which Hicks agreed improved the following of a language and colour scheme, and realness to each character. e.g. this cell was in green tones to represent hulk. 

Another film containing territory studio work is jupiter ascending staring channing tatum and mila kunis. The design for this interface was inspired by weather maps and this influenced the 'worm hole' time and space travelling used in the film. These were fluid line movements which animated in to patterns.

Interface graphics were also completed for the film ex machine. Here they used coders to assist in their work for believability and to stay factually accurate. They designed a Scandinavian interface with a minimalist style, simplistic typefaces and colour palettes. As part of this project the company was also given the opportunity to design the internal make up for the robot sculpture. 

Recent work was also included in the martian. Here they could work closely with nasa to ensure then the graphics would be functional if used in reality and to include all correct information. Information like this empowers designs as it broadens the graphic designers knowledge and strengths the believability of what is being portrayed. Colour palettes were less crucial heroes Hicks' describes the actual interfaces used my nasa don't have this type of consideration to visual appearance.

Other interfaces have also been included in the Forza motorsport 6 game alongside the work of turn ten car graphics and animation. 

Most recently they were able to design the credits for the OFFF graphic festival. Their work was to be used for the Cincinnati host. They sought collective inspiration and combined elements to produce a graphic animation. I particularly liked the created typeface here as it had an aztec style and the thin line use looked impressive when animated to float in and out of word formations. 

http://www.offf.ws/uploads/0-0-qateqa3upagepe3ugu4y9u9ubusytuhe3usezarany4ene8urudaqe6utuna7y2abapejapadybaqu2anaba3yba9adu2yju3yda1443683589.png

what is style

In this seminar session we were working on how everything carries a certain 'style'. To demonstrate this idea, a video interview of Dr Cornel West was used. In relation to fashion he highlighted how individuals present themselves in their attire doesn't necessarily reflect style. While clothing choice is inspired by many life factors and experiences (his own as influenced by his vocation/calling, old school, black preachers, jazz musicians, blues artists and reverends) he distinguishes a sense of style comes from within the attire.
In this way it could be stated that each individual doesn't have a single style but an 'own style'.

Henry miller describes his "I invent, distort, deform, confound and confuse as the mood seizes me. I obey only my own instincts and intuitions" (1960's).
while Trumen Capote says that style is a "mirror of artists sensibility- more so then the content of his work".

To test this style vs content, we can use Breuer's chairs as an example. His 1920's work was supposed to be solely about content by having a stylishness finish. The form of the chair was the main focus as to oppose previous fashions of ornate, decorative, victorian arm chairs.  His aim was to create "purposeful construction of logical designed objects",  however by simply focussing on the content- he intact created a new style of modernism and simplicity, in which form is paramount. Designs like this can be seen today, so must have some sort of style despite being designed to be "styleless".

Feminist writer and photographer writes "antipathy to style is always an antipathy to a given style. There are no styleless works of art, only works of art belonging to different, more or less complex simplistic traditions and conventions." This can be reflected as to mean that dislike of 'style' is just a dislike to one specific element, and art like Breuer's which claims to be styleless cannot be possible, as this itself then creates a new branch of style.

In the example of fashion this can be more easily gauged. A persons outfit choice can take inspiration from many different aspects and styles; but combined overall completes "your style" which people may agree with (in elements) or disagree with (in elements.)
Stylising can also be linking to fashion as in recent months ripped jeans have been seen as 'stylish'- people replicate this "style" but do so however in their own way by being able to use jeans they already own.

photos

For this studio project I was required to take some digital photographs to contain within the proposal magazine document. These were to act as a visual portrayal of every item within the person's handbag, to an extreme amount of detail in order to explore every tiny component.

The photos were initially shot in the university's satellite photography studio using a DSLR camera that was available for hire here. The studio was set up with two halogen lights positioned at two different heights, and rotated to best light the object in the centre. The table, floor and walls all have a white background and this illuminated the objects even more so. 

In order to capture all the images I wanted in one go, I planned and drew basic sketches of how I wanted each shot to be art directed.

• carrying all belongings outside of the bag
• exploded bag content
• gridded bag content
• bag as it is
• birds eye view of the bag open
• contents of a purse
• contents positioned artistically to form a pattern

Seen as this is a personal investigation of belongings- I chose to ask a friend to partake in the photographs.  In return for this I was also used within her project to help set up her shoots and to model for certain angles and compositions she required.

Teamwork here was needed as creating the freeform typography here was very time consuming; and had to be done simultaneously for a time lapse video to be captured at the same time.

However this photography session was unsuccessful due to not realising one of the setting on the camera was set to "manual" instead of "automatic" as we had hoped. Therefore no photos from this studio time were able to be used unfortunately

As you can see they are too dark to be useable.