wanje's-portfolio

MADMONKEYZPORTFOLIODESIGNFOR

COMMUNICATIONVISUAL

Contants

ApplicationGraduate

CertificateDesign For Visual

Communication

Conections

Project RequirementsMaking a connection between1909, 1929, 1959 and 2009

OutcomeA4 Poster Unveiling MAN UTD Football Club Kit

Visual Language & Grammer

Project RequirementsProduce an A6 work book of drawings, constructions, photographs, observations, etc in three sections: section 1 lines, section 2 circles and section 3 squares

OutcomeWorkshop exercises in rough form and refined

SuperstitionFriday the 13th

Project RequirementsA double-page spread ‘Special Report’

OutcomeA double-page spread ‘Special Report’ on consumerism and the designer’s role for Grafik Magazine

Typescapes

Project RequirementsOne completed A2 Poster. One completed A3 Poster. 3 notification cards (third A4, A5 portrait, A5 landscape). A front and back cover plus a double page spread.

OutcomeA double page spread

Identity

Project RequirementsTo involve a monogram and apply to a letterhead,invoice, compliment slip and business card

OutcomeMonogramMonogram in b/wMonogram in colour variationsMonogram scaled small to large

Generative Systems

Project RequirementsSystem as a set of rules and separately as an experiment that shows the application of the rules

OutcomeA3 Poster

Visualising Statistical Information

Project RequirementsOne table of information and one graphic representation of information

OutcomeTable & Graph

Letterpress

Project RequirementsGroup collaboration project

OutcomeImage Workshop

Folder & Dialogue

Project RequirementsA folded item that intergratesa dialogue, conversation or discussion

OutcomeA finish folded item resulting from workshop

Reduction &Redundancy

Project RequirementsBlack and white illustrationColour variationA2 poster integrating the resultant image with relevant text for an event or exhibition.

OutcomeBlack and white illustrationColour variations

Typologies

Project RequirementsTypology presented in a format A3 poster

OutcomeA3 Poster

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03

11

06

07

10

05

Design

08

09

Project TitleConnections

Project RequirementsMaking a connection between1909, 1929, 1959 and 2009

OutcomeA3 Poster Unveiling MAN UTD Football Club Kit

Project TitleVisual Grammar

Project RequirementsProduce an A6 work book of drawings, constructions, photographs, observations, etc in three sections: section 1 lines; section 2 circles; and section 3 squares

OutcomeWorkshop exercises in rough form and refined

Project TitleTypescapes


OutcomeThird A4 vertical/horizontal expressing one typeface, one size, one weight and one colour

Typography in Spatial Environments

projects by:Langlands & BellStudio MyerscoughWhy Not AssociateRuedi Baur Associate

TypescapesThe Design Museum

Shad Thames London SE1 2YD020 7403 [email protected]

Admission£8.50 adults£6.50 concessions£5 students



projects by:Langlands & BellStudio MyerscoughWhy Not AssociateRuedi Baur Associate



5 December 2009

22 February 2010

5 December 2009

22 February 2010



OutcomeA5 landscape expressing one typeface, two size, one weight and one colour


projects by:Langlands & BellStudio MyerscoughWhy Not AssociateRuedi Baur AssociateThe Design Museum



Typescapes

5 December 200922 February 2010



OutcomeA5 portrait expressing one typeface, one size, two weight and one colour



projects by:Langlands & Bell

Studio Myerscough

Why Not Associate

Ruedi Baur Associate



5 December 200922 February 2010



OutcomeA double page spread

Type LandscapesWord on the street

In particular, digital technology

has provided almost limitless

opportunities for designers, artists

and others to represent their concepts

through expressive visual forms.

One result of this is kinetic typography,

the combination of typography and

motion, or what is also sometimes

called typographic animation.

Unlike static, print-based forms, kinetic

typography uses motion to convey

gestures in ways that can function

powerfully as visual images.

As a medium, it is inherently

interdisciplinary, in the sense that it

can integrate technology, typography,

motion, graphic design, music and

literary narrative.

When we extend this marriage of

typography and motion to graphic

design education, it is essential that we

teach our students the fundamentals

of kinetic typography before expecting

them to make innovative visual forms

of concepts.

These fundamentals could be grouped

into four categories, with the overall

purpose of focusing on the synergistic

interaction of one component with

another.

All components interact with and support

all others, in the process of arriving at a

rich, expressive message on the stage

(sometimes also known as ground or field

of activity). Below is a list of the attributes

of the four categories, each of which

contributes to the use of kinetic

typography for communication.

1 2

In recent decades, technological innovation has greatly improved our potential for visual communication.



OutcomeDesign a front and back cover for the book

Typescapes:

Typographyin Spatial

Environments

Wanje Luckie

Cyan BooksPublished byCyan Books

Typography is a critical tool in visual communication, in

part because it can evokehuman emotion by combining

form with narrative text. Human feelings may serve as

the basis for the design of compelling images of a wide

range of circumstances in oursurroundings.

Emotion has a powerful voice, and it can be used in

a soul-stirring wayto convey the unique qualities of

each individual.

Over time, typography has gradually changed

in response to major factors like individual differences,

technological advancement, and cultural evolution.

Motion is physiologically linked to our self-awareness,

and, as such, is always inseparable from our

daily experience.

By its very nature, through such discernible attributes

as direction and velocity, the mere presence of motion

cannot help but call to mind such qualities as

dynamism and energy.

When combined through technological means,

typography, motion and emotion retain many of their

separate characteristics, while they also enable

designers to make new, synergistic consequences.

Admission

£8.50 adults

£6.50 concessions

£5 students

Shad Thames

London SE1 2YD

020 7403 6933

info@designmuseum

.orgThe Design M

useum

5 December 2009

22 February 2010

Typography in

Spatial Environments

projects by:

Langlands & Bell

Studio Myerscough

Why Not Associate

Ruedi Baur Associate

Typescapes

A Monster toConsumerism

Special Issues for Young Children22

A Monster toConsumerism

Young child with toyParents of young

children have an important role to play in

protecting their kids from invasive

marketing, and in educating them about

advertising from an early age.

Research has shown that children

between the ages of two and five cannot

differentiate between regular TV program-

ming and commercials. Young children are

especially vulnerable to misleading

advertising and don't begin to understand

that advertisements are not always true

until they're eight.

Children's identities shouldn't be defined

by their consumer habits; yet that is the

main way they see themselves reflected in

the mediaas consumers, and advertisers

are targeting younger and younger

children with this message. A healthy

society raises children to be responsible

citizens rather than just consumers.

Creating healthy, happy families means

spending time together rather than

spending money.

Parents should be concerned about the effect

excessive materialism can have on the

development of their children's self image and

values. In her 1997 book on modern family

life, The Shelter of Each Other, author Mary

Pipher worries that our consumer-saturated

culture may be breeding feelings of

"narcissism, entitlement and dissatisfaction"

in today's kids.

According to the Canadian Toy Testing

Council the biggest area of concern with toy

ads in Canada is exaggeration. Young children

often think a toy actually can do a lot more

than it can because of the way toys are

portrayed in advertisements.

These concerns have led some jurisdictions to

ban all advertising to children. Québec has

banned print and broadcast advertising aimed

at kids under thirteen. Sweden has banned

advertisements aimed at children under 12

and it is lobbying European Union members to

adopt similar policies.

The marketing of merchandise based

on the popular pre-school TV programs

Barney and Teletubbies marked the beginning

of identifying toddlers as a consumer market.

Reporting on this trend, the industry magazine

KidsScreen noted that: "Agencies are

cautiously eyeing the zero-to-three year-old

demographica group that poses tremendous

challenges and opportunities, because

research has indicated that children are

capable of understanding brands at very

young ages."

Project TitleSuperstition/Friday the 13th

Project RequirementsA double-page spread ‘Special Report’

OutcomeA double-page spread ‘Special Report’ on consumerism and the designer’s role for Grafik Magazine

Special Issues for Young Children

Effects of materialism"Advertising at its best is making people feel that without their product, you're a loser”. Kids are very sensitive to that. Nancy Shalek (former president Grey Advertising)

Project TitleIdentity


OutcomeMonogram in black and white

L Project TitleIdentity


OutcomeMonogram scaled small to large

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OutcomeMonogram colour variations

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OutcomeMonogram applied to compliment slipMonogram applied to business card

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With Compliments

Wanje LuckieLimited

7a Duncan Terrace AngelIslington LondonN1 8BZ

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t 020 7278 8872f 020 7278 0961

7a Duncan Terrace AngelIslington LondonN1 8BZ

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OutcomeMonogram applied to letterhead

our ref 123456789 your ref 123456789

Graig Gill

7 Chesterton House

Chesterton Lane

Cirencester

Glos GL7 1XQ

01 May 2009

Dear Graig

This letter has been typed according to our recommended layout. The head margin

should be set to 37mm and the side margins set to 35mm, giving a typing width of

140mm. This means that the typewritten information will align with the lrc address

at the top of the page and extend no further than the right-hand notch in the top bar.

The typing should align on the left and remain unjustified on the right. There should

be no indents and a normal word space used after full points.

For consistencies sake we have adopted one of the two ‘house’ typefaces

(AdobeGaramond). The size of type is 12 point and the line feed 18 point – this is an

approximation of the one-and-a-half line space common to all typewriters. The layout

allows for the inclusion of references, which appear at the top of the page utilising a

35mm tab. If the references are not required then preceed the name of the addressee

by 2 carriage returns. You will notice that when 5 lines of ‘name & address’ are keyed

in, the top line ranges with the first notch in the side bar and the top of the ‘L’ of the lrc

identificant, and the last line sits on its base line.

The date should appear 2 carriage returns below the last line of the address.

The ‘Dear…’ should be 4 carriage returns lower and the main body of the letter

a further 2 returns lower. Paragraphs should be separated by a single line space

(2 carriage returns)

Yours sincerely

Wanje Luckie

7a Duncan Terrace

London N1 8BZ

t 020 7278 8872

f 020 7278 0961

Registered Office

1 Bentinck Street London W1M 5RN

Registered Number 1828075 England

Directors

Wanje Luckie

Sheba Meribel

Wanje Luckie

Limited

e [email protected]

w www.madmonkeyz.com

L



OutcomeMonogram applied to invoice

INVOICE

our ref 123456789 your ref 123456789

Graig Gill

7 Chesterton House

Chesterton Lane

Cirencester

Glos GL7 1XQ

01 May 2009

Registered Office

1 Bentinck Street London W1M 5RN

Registered Number 1828075 England

Directors

Wanje Luckie

Sheba Meribel

Wanje Luckie

Limited

LRate

15%

Terms thirty days nett

VATFee

Design for Executive SourcingWeb Banner & Guarantee Scheme

Total

Your Order NumberInvoice Number

7a Duncan Terrace

London N1 8BZ

t 020 7278 8872

f 020 7278 0961

e [email protected]

w www.madmonkeyz.com

£100.00 £100.00

£100.00

Project TitleReduction and Redundancy


OutcomeBlack and white illustration

Never Hide

It’s okay to place ‘em near your alarm clock you’ll need ‘em throught out the day...Protect your eyes like no other



OutcomeColour variation



OutcomeBlack and white illustration



OutcomeColour variation

Never Hide

It’s okay to place ‘em near your alarm clock you’ll need ‘em throught out the day...Protect your foot like no other

Project TitleLetterpress

Project RequirementsGroup collaboration project

OutcomeClass workshop

Withnail And I

Bruce Robinson

I'm going for a cup of tea.Do you want one?

Do you want a cup of tea, Withnail?No

Thirteen millionLondoners have to wake up to this

The murder and all-branand rape?

And I'm sitting in this bloody shack,and I can't cope with Withnail.

I must be out of my mind.

I must go home at once anddiscuss his problems in depth.

I have some extremelydistressing news.

I don't want to hear it.I don't want to hear anything.

My God, it's a nightmare,let me tell you. It's a nightmare.

We've just run out of wine.What are we gonna do about it?

I don't know.I don't know.

Oh, God!

I don't feel good.

My thumbs have gone weird!

I'm in the middle

of a bloody overdose.

Oh, God

My heart's beatinglike a fucked clock!

I feel dreadful.I feel really dreadful.

So do I.So does everybody

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Graduate Certificate Design For Visual Communication 2009 Information

Alexandra Strassheimer

Alex Edouard

Beverley Howard

Beatriz Santiago

Christopher Ian Pollard

Carly Gemma Holder

Claudio De Paula Graciolli Jnr

Diana Koleva

Grazia Trisciuoglio

Graeme Rutherford

Ian Car

Katalin Pulla

Kate Bowker Lockwood

Lucy Syke-Thomson

Maartje Anne Schalkxr

Mark Horgan

Mathew Hencock

Milivia Romici

Rhea Lordes Pabillano

Taleen Temizian

Viktors Sorokins

Wallace Henning

Wanje Luckie

V&A Chiness design Connection Chiness now Search

thedesigncubicle en.wikipedia lineto.com .org .com

V&A Southbank Emails ICA Campion Institute

Typescape Reduction & General Redundancy Search

Graphic Magazine A Monster to Design Website Consumerism

Getty Creative image Connction Image Family portraits Search

BlackBoard/BBC Internet Banking General Gestalten.com Search

V&A Textile Connection Deisgn Search

fffound.com Generalswiss-miss.com Search

Guardian.co.uk News Times GeneralGoogle Emails Search

fffound.co.uk Last fm GeneralCreative Review Pitchbook Search

Blackboard GeneralFacebook Search

Packaging Typo Flight to EygptWebsites graphy General Search

Google Analystic Report Visual Statistical Google Reader Information

Flickr Graphic RSSFeed Design General Search

Google Logos General Blackboard BBC Sports Search

Creativereview grafikcache swiss-miss.co.uk .com .com

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Who logined most!

Alexandra Strassheimer

Alex Edouard

Beverley Howard

Beatriz Santiago

Christopher Ian Pollard

Carly Gemma Holder

Claudio De Paula Graciolli Jnr

Diana Koleva

Grazia Trisciuoglio

Graeme Rutherford

Ian Car

Katalin Pulla

Kate Bowker Lockwood

Lucy Syke-Thomson

Maartje Anne Schalkxr

Mark Horgan

Mathew Hencock Milivia

Milivia Romici

Rhea Lordes Pabillano

Taleen Temizian

Viktors Sorokins

Wallace Henning

Wanje Luckie

Project TitleVisualising Statistical Information

Project RequirementsOne table of information and onegraphic representation of informationof 23 class members

OutcomeTable & Graph

Graduate Certificate Design For Visual Communication 2009 Information

Whologined

most!

Contact: m: 07891 055 761e: [email protected]

wanje's-portfolio

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