DESIGN METHODOLOGY PROCESS BOOK CHRISSY ECKMAN GRDS 348: GRAPHIC DESIGN STUDIO I WINTER 2016

Transcription

1 DESIGN METHODOLOGY BOOK CHRISSY ECKMAN GRDS 348: GRAPHIC DESIGN STUDIO I WINTER 2016

2 TABLE OF CONTENTS CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

3 GOALS + OBJECTIVES The objective of Studio I is to develop skills across the entire process of designing, from research to planning to the real-world execution 2D and 3D formats, and to document that whole process in a single organized portfolio piece. Strategies for conceptualizing unique ideas and implementing them effectively as visual communication solutions are practiced through professional methods of research and design focusing on type, imagery, layout and composition, format, and media. ASSIGNMENT The final product of this assignment is a collection of cohesive brand materials for an exhibit in the SCAD Museum of Art, held together by a strong core idea that is carefully designed both visually and conceptually for creative execution in the real-world environment. It requires consideration of both location and audience for the design of experiences across 2D and 3D spaces. The documentation of process and development adds further depth to the final solutions. CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

4 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

5 WASSILY KANDINSKY One of the pioneers of abstract modern art, Wassily Kandinsky exploited the evocative interrelation between color and form to create an aesthetic experience that engaged the sight, sound, and emotions of the public. He believed that total abstraction offered the possibility for profound, transcendental expression and that copying from nature only interfered with this process. Highly inspired to create art that communicated a universal sense of spirituality, he innovated a pictorial language that only loosely related to the outside world, but expressed volumes about the artist s inner experience, which he referred to as the inner necessity. Kandinsky viewed music as the most transcendent form of non-objective art -- musicians could evoke images in listeners minds merely with sounds. He strove to produce similarly object-free, spiritually rich paintings that alluded to sounds and emotions through a unity of sensation. Colour is the keyboard; the eyes are the harmonies; the soul is the piano with its many strings. The artist is the hand that plays, touching one key or another, to cause vibrations to the soul. CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

6 SYNAESTHESIA Kandinsky is believed to have had synaesthesia, a harmless condition that allows a person to appreciate sounds, colours or words with two or more senses simultaneously. In his case, colours and painted marks triggered particular sounds or musical notes and vice versa. There is still debate whether Kandinsky was himself a natural synaesthete, or merely experimenting with this confusion of senses in combination with the colour theories of Goethe, Schopenhauer and Rudolf Steiner, in order to further his vision for a new abstract art. Despite the lack of medical proof for Kandinsky s synaesthesia, the correlation between sound and colour was a lifelong preoccupation for the artist. He recalled hearing a strange hissing noise when mixing colours in his paintbox as a child, and later became an accomplished cello player, which he said represented one of the deepest blues of all instruments. While the world will never know for sure whether his synaesthesia was natural, the fact that he painted his largest work ever, Composition VII, in just three days -- shows that this language was quite internalised. CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

7 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

8 ATTRIBUTE LIST * Evocative * Interrelation * Form * Emotion * Abstraction * Transcendental * Inspired * Communicate * Universal * Experience * Unity * Sensation * Harmony * Vibration * Soul * Synaesthete * Simultaneous * Trigger * Correlation * Composition * Internalised * Stimulation * Synthesis * Symphony * Autonomous * Force * Exploit CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

9 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

10 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

11 FINAL CONCEPT * Union * Symphony * Interrelation * Transcendent * SYNERGY CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

12 EXHIBITION TITLE SIGHT SOUND SOUL Synergistic Works by Wassily Kandinsky CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

13 PROJECT 1: IDENTITY SYSTEM CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

14 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

15 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

16 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

17 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

18 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

19 This bold title utilizes a simple math equation for a quick understanding of the concept that combining visuals with their musical counterparts produces a soulful experience. The two senses involved in the equation are emphasized in the graphics of the logotype itself, with the letter G in SIGHT resembling an eyeball and the letter O in SOUND representing the transmission of sound waves. These words are written in capital letters of a san-serif typeface, strong and easily readable, stripped to their core strokes --- to make sure that the basic concept of the exhibit is absolutely clear. Another aspect of the equation is that sight+sound actually creates a synergistic result where the effect is greater than the sum of its parts, causing the viewer s soul to transcend into a deeper reality or inner necessity (1+1=3). This idea is visualized in the word SOUL of the logotype, which is made up of only two single overlapping parts, but three colors are created as a result of that effect. The parts are written in a heavier weight than SIGHT+SOUND to reinforce that the soul is the definitely the main focus of this exhibit. Sight and sound together design a bigger, stronger, brighter soul. CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

20 Century Gothic (Bold, Tracking 60) Century Gothic (Regular, Tracking 40) Bodoni 72 (Bold, Tracking 90) Bodoni 72 (Book, Tracking 50) CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

21 # F3ECE4 # EBD257 # E69A4B # 8384ab # 5b5989 # # 23223a C = 3 M = 6 Y = 8 K = 0 C = 9 M = 13 Y = 79 K = 0 C = 8 M = 45 Y = 80 K = 0 C = 53 M = 47 Y = 15 K = 0 C = 74 M = 70 Y = 22 K = 5 C = 83 M = 81 Y = 42 K = 37 C = 86 M = 82 Y = 48 K = 55 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

22 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

23 PROJECT 2: ENVIRONMENTAL GRAPHICS CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

24 BOLD, BUT DELICATE. SOULFULLY LOUD. Environmental aspects of this exhibit pair bold, clean-cut, modern graphics with a soft visualization of inner emotion that ties Kandinsky s work and style together with his thoughts and feelings for one cohesive brand. The graphic element of solid concentric circles in a grid, inspired by one of Kandinsky s most recognizable works, represents the deep soul vibrations that come from the combination of sight+sound --- each layer is like a reverberation made from color and its musical effect. This element is strong and simple in comparison to the thin, delicate sound waves that make up another piece of the environmental graphics. Those waves show the interrelation of sight (symbolized by line, form, and color in the yellow strip) with the visualization of sound (represented by the group of white lines that could symbolize a twisted sheet of music or the many soundwaves of a musical symphony). Together, the two create a bigger, stronger representation of the soul and its vibrating sensations that come as a result of seeing and feeling Kandinsky s art. These graphics are designed with bright, happy pops of yellow, orange, and white, to be placed on dark blue-violet backgrounds as a simulation of the deep soulfulness of the viewing experience. Overall, the combination of bold graphic symbols with rich tones and thin lines represents both Kandinsky s work visually as well as his conceptual philosophy. CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

25 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

26 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

27 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

28 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

29 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

30 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

31 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

32 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

33 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

34 PROJECT 3: NARRATIVE LITERATURE CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

35 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

36 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

37 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

38 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

39 A PEEK INTO THE ARTIST S SOUL. The idea behind this piece of literature is to enhance the artwork in the exhibit with deeper information about the artist and his thoughts. This booklet gives an insight into Kandinsky s fascinating theories that color and sound are linked, providing a ground for understanding how he created his beautiful synergistic works. To enter, viewers flip past the main cover of bright graphics from the exhibit branding, and then get to see what they were peeking at on the next page of isolated dark indigo that represents a deep inner soulfulness. From there, each spread covers a different quotation by the artist and is paired with an image or graphic element that relates to the theme of those words. Concentric circles are a recurring shape throughout the design because of their rhythmic qualities. Museum-goers can save this booklet as an informational text about Wassily Kandinsky but also as a memory of key pieces from the exhibit. CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

40 PROJECT 4: PACKAGING CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

41 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

42 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

43 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

44 Earphones are a perfect gift item for this exhibit because they allow for the sound aspect of SIGHT+SOUND=SOUL to come to life. The thin white cord mimics the graphic elements already being used for branding, so its package takes advantage of that similarity by turning the cord into a design element in itself. It is called SOUL VIBRATIONS because the design represents a combination of sight and sound for a larger reverberating soulful experience. Orange circles on the front of the package serve mainly as a practical means for holding the earphone cord in place, but also further mimic the original graphic element. On the back, a quotation by Wassily Kandinsky tells the buyer to immerse himself in the art and music of the exhibit to enter into a new world of inner necessity. CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

45 PROJECTS 1 4: FINAL PROGRAM CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

46 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

47 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

48 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

49 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

50 RESEARCH LINKS CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

51 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

52 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

53 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

54 SYNERGISTIC WORKS BY WASSILY KANDINSKY CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

55 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

56 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

57 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

58 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

59 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

60 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

61 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

62 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

63 CHRISSY ECKMAN STUDIO I DESIGN METHODOLOGY BOOK

64 THAT S ALL, THANKS! CHRISSY ECKMAN