Redevoloping the Icons of Madness

My audience is the same as my last post, my YouTube viewers.

The design should appeal to my audience in that they will be used in thumbnails, likely in Lovecraft related videos/recordings. The color scheme and design should form that Lovecraft connection with my viewers and catch their interest.

I went with a choice of mostly red, purple, grey and green colors, as these are often associated with Lovecraft’s creatures, further I used a lot of repetition and variation in the form of the tentacles and color placements.

cave 2

Cloud 2

Tentacle Sun 2

Tablet 2

cave 2 smallCloud 2 smallTentacle Sun 2 smallTablet 2 small

Icon Spread 2

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Lovecraftian Icons draft

So for this project I am making some icons based on a Lovecraftian theme that I may use in some thumbnails for my YouTube channel eventually. I did break away from assignment guidelines somewhat to produce what I wanted, but felt that the point loss is worth getting the desired product. After all I am making these for use, the grade is just a one time application.

cave 1

Cloud 1

Tablet 1

Tentacle Sun

Tablet 1 smallTentacle Sun smallcave 1 smallCloud 1 small

Icon complete collection sized small

Lovecraft Icon Spread draft complete

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Strength Through Atonement

Article draft completed2

Article draft completed22

Article draft completed23

I made this revised magazine spread based on feedback received and difficulties I noted with the original design.

Photography: Photo’s were taken by myself, the cover image being of Mary, Joseph, and the baby Jesus. My wife and I received the clay figures from my Mom.

The photograph on page 2 is of my wife in the similitude of praying.

Target Audience: My target audience are youth of the church of Jesus Christ of Latter-day Saints roughly of the ages of 12-30, who are seeking greater light and knowledge regarding the atonement in relation to their repentance from past mistakes.

In order to better approach my audience I have formed my article in a similar fashion to some church publications, though with some slight adjustments such as the colored pages which I believe add a friendly and less dull appearance to the article that may aid in maintaining the readers attention while being gentle on the eyes.

Design: For color scheme I went with a rough primary color variant with orange present on the title page instead of red, but maintaining blue in the page coloration and yellow for the pull quote, title, and second image addition. I kept the blue and yellow fairly soft so as to be gentler on the eyes, which was not always the case with the initial draft.

The title was also expanded so as to contain the title of the church, so as to provide clearer identification of the content for church youth readership. A stroke was also added around the text for greater accentuation of the title apart from the rich orange and browns of the title page image.

Typography choices included a serif font for the standard text, for ease of reading the smaller lettering. A sans-serif font was then used for headings, the pull quote, and title text, in order to differentiate it from the standard text, which is further differentiated by the difference in size.

Stroke was removed from the partial oval above the second page image so as to help it blend with the image itself.

Both pictures used indoor lighting out of necessity, though nothing too sharp, as a gentler imagery fit better with the overall feel of the article.

Additional tweaks were made to pull quote size so as to provide a little more white space and to adjust the positioning of the general text.

All in all the article is made to provide the information without scaring away the younger audience.

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Strength Through Atonement Magazine Draft

Here is a draft of a magazine article, for the full article at its source, go to: https://www.lds.org/general-conference/2013/10/personal-strength-through-the-atonement-of-jesus-christ?lang=eng

Article draft completed1

Article draft completed12

Article draft completed13

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Photographic ways

Photography uses many techniques to achieve excellent picture quality which is pleasing to the viewer. Here are a few examples of a small number of these techniques.

Rule_of_thirds

BY ON JUNE 11, 2013, http://onthreelegs.com/?s=rule+of+thirds Blog, Post.

Rule_of_thirds draw over

The rule of thirds is a method used in the placement of objects in an image. This setting of placing the objects along the line of a third adds to the visual appeal for the viewer. Note how the building in this image lies on two of the third intersections, it is neither too far towards the edge of the image where we might think it unimportant to the photo, nor is it dead center, which we might find boring.

Rule of thirds my example

Here is one of my own examples of the rule of thirds, note that the plant is along the lines of a third more or less and how our eyes tend to be drawn to it as the primary object of the image.

leading lines

By: Orel’s Photojournalism Blog http://akinsphotojblog-pikachu512.blogspot.com/2010_09_01_archive.html Wednesday, Sep, 29th, 2010

leading lines draw over

Leading Lines are another means by which a photographer creates pleasing images and effects what we look at as viewers. Here the lines of the road serve to guide our vision through the photograph either from back to front or front to back.

Guiding line my example

Here is an example of leading lines of my own making. The cord serves to guide the eye from the upper left of the image, down to the headset below.

Long Depth of Field 1

By: Caroline MacDonald, Monday, Oct, 18th, 2010 http://carolinejournal5.blogspot.com/2010/10/3-short-depth-of-field-and-3-long-depth.html

Long Depth of Field 1 draw over
Depth of field is shown rather clearly in this image, note how the hay-bales are differing in size and placement, giving this image a clear sense of the depth and distance the image captured. The effect carries over to the tree line as well, showing it as clearly being behind the hay.
Depth of field my example
Here is my own example of depth of field. The layering of the objects in the image give a clear sense that some are closer to the viewer than others while some are in the background more.
Conclusion: On their own the elements can help an image, but combined, even just these three elements of photography can turn an image into a work of art that viewers will want to look at.

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Harry Potter Typography in Action

By: Kazu Kibuishi, Blog, Post, Reverse Engineered by C.S. Gilmore http://www.extravaganzi.com/new-covers-of-harry-potter-by-kazu-kibuishi/

 

Harry Potter 15th Anniversary covers by Kazu Kibuishi

Original: In attempting to think of a good example of two typography types being used together, it struck me to try book covers, which led me to look up Harry Potter book covers. I came across this one in a simple search and found it rather pleasing in both art and typographical layout.

Harry Potter 15th Anniversary covers by Kazu Kibuishi

Oldstyle is used for the author name and the title apart from “Harry Potter” this serves to provide the information while not distracting the eye with the less bold font type. The font is recognizable from that of a serif font due to the fact that the stresses are at diagonal points in the letters, meaning the thin parts of the letters are at diagonal points across from each other, instead of on the direct top or bottom. The serif points also have a distinctive curve to them that would be more squared in a standard serif font.

Harry Potter 15th Anniversary covers by Kazu Kibuishi

Decorative text is what serves as the real eye catcher of the piece, as seen in the words “Harry Potter” the unique and imaginative character shapes help draw the eye and let the reader quickly know that they are looking at a Harry Potter series book. It wouldn’t be a good idea for this font to be used throughout the story as the texts shape would be harder on the eye, but it works well in this small dose as an identifier.

Harry Potter 15th Anniversary covers by Kazu Kibuishi

Size is one of the primary ways these two fonts contrast well. The decorative font is several sizes larger than the oldstyle font, allowing it to catch the eye at first.

Harry Potter 15th Anniversary covers by Kazu Kibuishi

shape is perhaps the largest contrasting point between the two fonts. While they do share in the pointed form of the serifs, they also differ greatly in how many of those serifs and other edges are portrayed. The oldstyle font is more rounded and smooth, while the decorative font has many points of extra elongated serifs and sharper edges to the curves. Take the letter “e” for example, the oldstyle has like a half oval in the eye of the “e” while the decorative fonts eye is more like a triangle due to the sharpened curves. The “P” also sticks out with the tail being lightning bolt shaped instead of normally drawn.

Conclusion: While the two fonts have their connecting points, their contrasting points are much stronger and serve to compliment each other, with the decorative font serving as the eye catcher and identifier, while the oldstyle font carries the more detailed information.

 

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Genesis 2 A Masterwork.

By: John Stephens. Copyright John Stephens 2010, Blog, Post, Reverse Engineered by C.S. Gilmore

Original: http://johnstephens.com/genesisII.htmlGenesis 2 poster image by John Stephens

I first came across this poster when I was shopping for Christmas gifts for my family, and since this uses the principles of design so masterfully I decided to use it for this reverse engineering project.

Proximity Genesis 2 poster image by John Stephens

Proximity was used in this piece in numerous ways. We have the pillars together in two groups, plus the stones in the lower half close to each other and creating a transition between the land and space scenes. There is also the mountain in the center, which is placed so as to appear behind the pillars, helping to create a sense of depth. Besides the layers of object groupings from top to bottom there is also a grouping of things on each side, creating a channel down the center of the image for the flowing water to lead the eye from top to bottom and far to near.

Contrast Genesis 2 poster image by John Stephens

Contrast comes to mind primarily in the use of color. There is the dark of space at the bottom, transitioning into a middle level of color richness in the area of the stream, trees, and rocky hills. The transition and contrast deepen further with the brightness of the pillars before darkening again a little with the sky above. In addition there is also the brightness of the black hole compared to the dark of space around it. There is also the nearness of the lower image in contrast to the larger size but greater distance feeling given by images further up, such as the cathedral.

Repetition Genesis 2 poster image by John Stephens

Repetition is used throughout the image as well, easily seen in the varying shapes, sizes, and colors of the rocks in space and the stream. It is also visible in the pillars as they shift in angle and nearness, as well as in the shape of the arches and in the fact that they are mirrored in the water. The Image itself is also almost but not really mirrored in its two sides.

Alighnment Genesis 2 poster image by John Stephens

Alignment is also used to great effect to clearly define different zones, such as space, the stream, the pillars, and the sky, helping the eye to recognize the different layers of the painting and the relation of objects in those layers to each other. Most notably the alignment of objects along the sides creates the tunnel effect that serves as the central point of the image with the water flowing down, which adds a lot to the sense of image depth.

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