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Chichester College Task One

David Foldvari & David Carson

David’s Foldvari’s unique body of work has made him an illustration celebrity. His eastern European roots, combined with his experiences of growing up in the UK, give him a powerful subject matter and his work often tackles issues of alienation, identity and belonging. He produces illustrations from the basics of line drawings and sketches, that he manipulates using computer software. He then layers and overlaps these drawings, to create a powerful outcome. David Carson is a professional surfer turned graphic designer and art director, whose new fresh and exciting approach injected new life into the world of graphics during the 80’s and 90’s.

For this task your outcome will be an illustration for a T-shirt design, using the word CRUELTY and the above two designers as the inspiration for this design. You will for homework and to bring in next lesson….. Now looking in the news make cuttings from News papers, magazines, and print articles from the BBC News web site. Exploring topics linked with the starting point Cruelty. Then produce a brainstorm and mood board of your research. Research both David Carson and David Foldvari, and critically evaluated their work.

This project will run for only two weeks and four lesson, so it is imperative you complete all the tasks set in class and homework as this will set your level. So for next lesson you must complete in your sketch book and bring into class as below.......

1. Brainstorm about Cruelty

2. Research around your chosen starting point, in the form of a double page spread of images and annotation.

3. Research on David Carson and David Foldvari with images, and critical evaluation of their work. (min 300 words)

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Weeks Commencing... Project brief handed out previous lesson, and homework set (brain storm & research around cruelty, David Foldvari, David Carson) to bring into class on 12/09/11. Monday 12th

Lesson 1; Text in Photoshop and abstract letter forms. September 2011

Homework: Collect inspirational images and produce a series of drawings and sketches in the style of David Foldvari, remember that your design should make a point about your topic you chosen from your news research.

Lesson 2; Explore composition via cut and paste and Photoshop, photos Pen and Ink sketches, blending splatter and wash.

Homework: Develop the above further by mixing , using both traditional and digital technique, along with your work inspired by David Carson mix the styles together.

Monday 19th

Lesson 3; Development of final idea. September 2011

Homework: Develop the above further by mixing, work on sketch book and final idea ready to print T-Shirts next lesson.

Outcome…..

• Initial research: Cruelty, David Carson, David Foldvari. • Development: • Final design mounted, with 300 word (minimum) evaluation of your work. • Design printed on a T Shirt. NB. All written work must be handed in with a bibliography, which includes at least one Internet source and two other source such as a book, journal, news print or magazine reference. This must include a copy of the pages with the relevant text highlighted.

Useful web sites

http://www.davidfoldvari.co.uk/ http://news.bbc.co.uk/

Kim Atkins

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Magic Eraser Tool The magic eraser tool can be a nice and quick tool to use in the right circumstances. Start out with a clean background image.

This tutorial will help you to better understand it. I recommend that you duplicate the background layer first, by dragging it to the new layer icon at the bottom of the layers palette.

Now you have a layer on which it’s safer to eraser or shift pixels on. Click the seeing eyeball on the background layer to hide it as shown.

Kim Atkins

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Now make sure that you are on the duplicated layer. When a layer is highlighted in the layers palette it means that it is the ‘active’ layer and the one that you are working with or on.

Now with your magic eraser tool just go ahead and click on the background area. In this case I have a photos.com image that has a nice simple background.

This you will find simple backgrounds to work out the best when using the magic wand or magic eraser. In any other circumstances, this tool could be considered as the 'tragic eraser'. When you click you’ll see that it will erase a huge chunk of pixels (hopefully in your case).

The point where you click is used as the reference point from which the eraser will be done.

Kim Atkins

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The tolerance level is how great of a variation in pixel colour you can have to be included in the erase.

Once again contiguous means pixels that are touching each other! So if there’s no interruption then all of the pixels in the area will be affected In this case of the magic eraser it’s ok to leave it on contiguous because you’re not limited by the size of a brush; it will erase all pixels in the surrounding area of the entire document that aren’t blocked by another colour.

I’ve basically ‘erased’ this complete background with one click because the background was one single colour and much different than the sharp colours of the subject (this creates a great contrast so it’s easy to use a simple tool like this here).

Use the move tool and move the layer around.

You can also go ahead and do some transforming such as flip horizontal.

Kim Atkins

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By erasing the background what you have left is basically a selection of the main subject. In the layers palette, this is the only pixel data that is actually on the layer (which is also the end result of making a selection with this means to an end).

Now try out the magic wand tool too, it works in a similar way!

What? Research is vital to any design process; it is the initial trawl and collection of ideas prior to design. It should be an experimental process, an investigation to support or find out about a particular subject. Research is an essential tool in the creative process and will provide inspiration, information and creative direction, as well as a narrative to a design project. Research is about a journey that can often take weeks or even months to collate and process. It is also a very personal activity, which through its manifestation, provides the viewer with an insight into the thinking, aspirations, interests and creative vision of the designer. Research is about investigation, learning about something new or from the past. It can often be likened to the beginning of a journey of exploration. It is about reading, visiting or perhaps viewing, but above all, it is about recording information. There are two types of research. The first is gathering the tangible and practical materials for your design, researching techniques and processes, and gathering information regarding the function and use of your design. The other is about the visual inspiration for the design project, and this will often help to set the theme, mood or concept that is essential in developing an identity for your creative work. Research should be broad ranging and in-depth, enabling you to produce innovative and exciting work. Why? Research is there, above all, to inspire you as a creative individual. It is a way of stimulating the mind and opening up new directions in design. By gathering different references and exploring many avenues of interest you can begin to explore a variety of creative possibilities before you channel and focus your imagination towards a concept, theme or direction for your design. Research will help you learn about a subject. You might discover information previously unknown to you, or perhaps new skills or technologies could be explored. Research is an opportunity to inquire into your own interests and expand your awareness and knowledge of the world around you. It is a way of showing the world how you see it and how you think. The final thing to remember is that research must be above all else inspiring and useful. What should research contain? Research can take many forms and your research can contain information about the following; shape and form, structure, details, fixings, materials, colours, textures, decoration, graphics, pattern, historical influences, cultural influences, trends, techniques and processes, design evaluation and any information regarding the function and use of your design outcome.

Research + Analysis

Where do you find research? Primary sources – These are the findings you have collected or recorded first hand. In other words they are the objects you have drawn directly from, for example, anatomical references from a museum of natural history. Primary sources are generally recorded through drawings or photographs, and often provide greater sensory associations than just the object itself, for example, touch and smell may recall memories and be included in the final design process. Secondary sources – These are the findings of other people. These may be found in books, the internet, journals, and magazines. They are just as important as primary sources of research and often allow you to see and read about things that are no longer around or are not easily accessible. It is important to understand that research does not have to necessarily be design related. Compiling research Research can be compiled in a variety of ways with the use of; sketchbooks, research boards, concept boards and sample boards. Analysis of research As you begin to explore your research and compile ideas and concepts through collage and cross-referencing you will start to see a potential direction for your design. Early analysis requires you to draw shapes and forms from the sources you have explored, experimenting with mixed-media sketches, to illustrate the development of you design. This process is imperative to you obtaining a good grade in your A level. Written analysis is also essential, with the use of key words and small paragraphs of text that help to explain why you chose the specific piece of research and what information you have taken from it. How you are using this research to further develop your design outcome.

Telling a story through layers:

1. Create a new document as usual.

2. Drag your textured surface on

to your new document using the Move Tool.surface if necessary.

Resize the

Remember to switch on the Auto Select Layer and

Show Transform Controls

3. Open an image that you would like to put on top of your surface. Drag it on top of your surface using the move tool.

4. Your screen should be looking like this. Notice there are now 3 layers in the Layer Palette. Each picture you add to your image will give it another layer.

5. Drag a 3rd

picture and notice that there are image on to your surface

now more layers.

6. You can now change the stacking order of the layers

by clicking on a layer and then holding and dragging it to where you want in the layer palette. Try swapping layer 3 for layer 2.

7. Select the top layer by clicking it and making sure it is

highlighted.

8. Select Multiply in the layer blendthe layer palette.

section of

Notice how the image changes.

Layers are critical to working with Photoshop. The open image is a view from above, like looking down at a paper scrapbook layout. The Layers Palette is looking at those layers from the side, like the layers of a sandwich. Just as papers and photos on a paper page are layers and can be moved and overlapped independently from one another, digital scrapbook pages have the same layers.

Layers in Photoshop

The explanatory image in Figure 1 has 5 layers: the white background and each of the 4 shapes is one layer, these shapes have been drawn using the shape tools and rasterised.

fig 1

The view of the example image is from above, as if looking down on a piece of white paper with four coloured paper shapes on it. The view in the Layers Palette on the right is like looking at the side of the layer stack, with the white paper (Background

Using the Move Tool to rearrange the shape layers, we can see how each layer remains separate and distinct, independent of the surrounding layers.

) as the lowest layer, and the shapes on top of it. The active layer is highlighted in the Layers Palette, as Layer 3 is blue in figure 2.5 above, and a paintbrush icon appears in the empty box between the Eye icon and the Layer Thumbnail.

Placing each shape near the centre of the white paper shows that the green triangle is the uppermost layer, with the black square beneath it, followed by the red heart, then the orange circle, as reflected in the stacking order in the Layers Palette.

fig 2

To reorder the layer stacking order, simply click and drag any layer in the Layers Palette to a different Location.

fig 3

Dragging a layer to a different stacking order affects the way it interacts with the layers around it. In the example, the green triangle on top is dragged beneath the other shapes, so is no longer completely visible, but obscured by the higher layers. The new position of the triangle is visible in the Layers Palette.

/* Fig 4

The image information isn't lost if overlapped by something else, as demonstrated with the black square. When separate, the entire shape was visible. When covered by the green triangle, it was no longer visible, but the information was not lost because when the triangle was placed below it, the black square became completely visible again.

Your Task…. Now using the custom shapes tool draw a simple image, experiment with the layers as above and see what effect this has. Advanced task... Try....... Merging layers: Layer > Merge layer Grouping layers: Layer > group layers Link Layer: Layer > link layers Note what effect these have! NB: You have to had down the shift key to select multiple layers.

Typefaces are often overlooked by design students as being secondary importance to images. In this assignment we are going to explore elements of typography, some history of type and a little terminology. Then we are going to design some work that uses Type as Image Tasks: 1. You should have researched graphic designer David Carson and recorded examples of his typefaces and work, and Included images of the designers work and annotate. and respond to this work. 2. In Photoshop design 4 expressive outcomes using type as image from your researched typefaces. Use B&W only at First. Use L: Drive for inspiration. ‘MMM Skyscraper’ book by Tomato and your research also. This too is on L: Drive under Graphics /Skyscraper Typography Don’t forget to use full stops, forward slashes and exclamation marks etc! (If your Type face is not available in the Type Suitcase on the computer or in DaFont.com etc then you’ll need to trace the letters from books or internet printed examples) 3. Print out your 4 designs. Then enlarge on the photocopier to at least A3. Now enlarged, you can create a new composition using an A4 card viewfinder to scan or trace over your enlargements to find 3 new dynamic compositions. 6. Trace or photocopy the new composition onto acetate or tracing paper. You can layer up the tracing paper to create a composition or you can use Layers on the photocopier or in Photoshop Acknowledge the creative use of space. Consider adding outlines as well as block shading 7. Produce at least 2 final compositions that link with your Task 1 project in any media you feel appropriate. Put all the development and final outcomes in your sketch book. Useful resources: L Drive. Dafont.com.

AS Graphic Communication Unit 1 Typography in Graphic Design Abstract Letterforms Staff: Kim Atkins

Kim Atkins

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The Crop Tool The crop tool is a tool that any beginning Photoshop user (and advanced) should definitely know how to use. This is basic image editing at it’s pure essentials. When I was learning (teaching myself) I didn’t use the crop tool, I used the method of marquee and then copy/cut and paste onto a new file. Crop tool makes the whole process a snap.

Grab the crop tool and just drag it across the image so you have a general marquee selection around the area that you’d like to keep.

Kim Atkins

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You’ll notice how it darkens everything else? This is because that is the area that you’re going to get rid of.

Adjust the corner handles (hold down shift to retain proportion for the corner handles) to cover the area that you’d like to keep.

Then press enter. The whole document now becomes this new size (remember the Info palette that shows the measurements of the bounding box?

See how much more interesting the photo is once you get rid of all that extra space It focuses the whole image nicely on the hired for photography family.

Kim Atkins

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Keep in mind that once you do the crop, this is the new file size unless you go back in the history palette to redo it. You can always Save As and name it something else to retain a copy of the original still in your hard drive).

Or you can Save As and save it in a different format with the same name to save a copy and retain the original pre-cropped. If you know you're going to keep the cropped version as the master then just Save (override the previous version of the file) to retain your new state of the document.

Kim Atkins

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Kim Atkins

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Basics to using type in Photoshop: Select the Type tool (or press T on the keyboard as a shortcut): There are various options, the most common is Horizontal Type Tool Changing the Properties of the Type in the Properties Panel at the top of the screen: There are many options including: Font, style, size, alignment, colour and warping

Font: There are a lot of fonts to choose from, but different computers may have different fonts installed. Different fonts will suite different situations. The drop down menu will show you examples

Style: The most usual styles are bold, italic and underline, but some fonts will have even more than these

Size: The size drop down menu will give you a lot of options. These are standard type sizes, but you can type whatever size you want (up to 999) in the window. Otherise, just type and then scale to get the size you want.

Alignment: Set the text to align on the left, centre or right. This is only useful with paragraphs or multiple lines of text and can be seen in books, web or magazines

Colour: Click on this box to set the colour. You can also use the colour picker to select any colour on screen, i.e. from part of an image. Be careful with colour and text as it can look like Word Art.

Kim Atkins

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Transform: To transform text press Ctrl T or go to edit > transform > scale, rotate or skew.

Distort: In order to distort text you have to rasterize it first, this will also allow to change it with painting tools. Then go Edit > Transform > Distort

Opacity: Set the opacity in the layers palette.

Shadow, glow, bevel, emboss, gradient: can all be found in layer style. Then mess around with the options.

Use the tick boxes to determine which styles are applied to your type.

Kim Atkins

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Gradient: Double-click on the colour bar to set the colours of the gradient. Then double-click on the colour stop and pick a colour

Text on path: Select the pen tool and change to path mode

Draw a path. Select the type tool and

click on the path, you can the write along the path.

‘Create work path’ out of text: Type a really big letter. Select: Layer > Type > Create work Path

Then write along the path created (move the original letter away)

Kim Atkins

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Warp: click on warp in the properties panel

Use the control panel to set how to warp and distort the text. You can increase and decrease the amounts with the sliders.

Possible techniques include: Transform – rotate – distort Opacity Layer Drop shadow Glow Bevel Gradient overlay Text on paths Using text as a path Warp Rasterize and affect Remember: Annotate the tools you used and the effects these had on the type.

David Foldvari

AS Graphic CommunicationTutor Kim Atkins

•Nationality British Hungarian

•Began work as a Illustrator in the late 90s, after graduating from the Royal College of Art in London.

Influences, his roots in eastern Europe Issues that concern him, often around alienation,

identity . Bold, dark, humorous and political.

Exhibitions: David Foldvari, Trouble8th July – 30th July, 2011

The focus “This exhibition centres on the self-conscious within the social context, the subjects portrayed reveal the inherent fear and intimidation generated by worrying about public scrutiny, disapproval and downright rejection within the social environment. The artist highlights that though life's tough decisions may inevitably lead down a path to trouble, instinct reigns supreme over self-doubt”

Previous clients include the..

•New York Times.•Greenpeace,.•Random House.•Penguin Books.•Island Records.

http://www.welovead.com/en/works/details/4a9ymntD