Since my last OLJ (Online Learning Journal) entry the HND Interactive Media course have received results for A2. Unfortunately my assignment was referred along with sixteen others due to several minor mistakes. Upon hearing the news my mood dulled somewhat but at the same time felt selfishly relieved that I wasn’t on my own.
Feedback received and I was feeling much better having realised that referral points were few and fairly easy to amend, however now faced the daunting task of submitting for the second time (with no room for error!)
On a brighter note we’ve since been appointed our next task of the course in the form of A3 (investigation into the web design pre-production process) and A4 (gaining an understanding of typography), two assignments that I’m really beginning to enjoy, although the extra workload hasn’t gone unnoticed!
Along with the additional work of completing multiple assignments we now have the added elements of merit and distinction criteria, involving such things as keeping time sheets (which in actual fact is more challenging than it may sound) not in a technical sense more so just remembering to keep a track of what you’re doing and when!
The course definitely seems to have been kicked up a gear over these last few weeks with work flowing thick and fast, from typeface identity exercises to ideas generation with a little added extra thrown in for good measure!
The HND Interactive Media department (years 1 & 2) were requested to put together design ideas for the 2008 Wakefield College Christmas e-card which I thoroughly enjoyed taking part in. This provided a great opportunity to get to grips with the workings of Adobe Illustrator & Fireworks which I had no previous experience with. Fortunately my design has been short listed along with five others, so to say I’m pleased right now would be an understatement!
Thursday 27 November 2008
Wednesday 12 November 2008
Oh… and to listen to Steve!
This week we were fortunate enough to be paid a visit from The Design Mechanics co-creator, Dave Pannell and former HND Interactive Media student, Craig Burgess. They kindly took time out of their very busy schedule to enlighten us on the realities of the creative industry.
The guys gave a very interesting, informative presentation covering many aspects of the industry, from study and the humble beginnings right through to creation and running of a successful freelance design company. Both were armed with samples of previous projects, posing the perfect chance to take a peek at the work standard expected.
It came as a surprise to me when Craig announced that he had no previous design experience prior to joining the HND course. I know that Craig’s talents are well respected by both Dave and Steve, so for him to be able to progress to such a level in this short period of time from a background of no creative design knowledge instils confidence in me. Along with the fact that the HND Interactive Media course is highly regarded by the likes of Dave Pannell for producing students well equipped for the industry and able to hit the ground running.
As conversation ran on into time scales and project turnaround time, it was brought up that it’s considered common practice to be able to create such things as logos and business cards in as little as thirty minutes! Upon hearing this I was somewhat taken aback. However, after discovering the way in which The Design Mechanics approach their projects it soon became clear how this is possible.
The fact that they established a clear outline of the project brief, allows them to meet their targets fist time every time. This approach enables them to cut time and save the client money. Conclusively, this visit reassured me on my decisions, injected anxiety and excitement whilst also teaching me several valuable lessons… to work hard, fast, efficient and be disciplined.
Oh… and to listen to Steve!
It came as a surprise to me when Craig announced that he had no previous design experience prior to joining the HND course. I know that Craig’s talents are well respected by both Dave and Steve, so for him to be able to progress to such a level in this short period of time from a background of no creative design knowledge instils confidence in me. Along with the fact that the HND Interactive Media course is highly regarded by the likes of Dave Pannell for producing students well equipped for the industry and able to hit the ground running.
As conversation ran on into time scales and project turnaround time, it was brought up that it’s considered common practice to be able to create such things as logos and business cards in as little as thirty minutes! Upon hearing this I was somewhat taken aback. However, after discovering the way in which The Design Mechanics approach their projects it soon became clear how this is possible.
The fact that they established a clear outline of the project brief, allows them to meet their targets fist time every time. This approach enables them to cut time and save the client money. Conclusively, this visit reassured me on my decisions, injected anxiety and excitement whilst also teaching me several valuable lessons… to work hard, fast, efficient and be disciplined.
Oh… and to listen to Steve!
Tuesday 4 November 2008
Avant Garde
1Avant Garde was initially designed as a logo (not as a commercial typeface) for one of Ralph Ginzburg’s magazines in the late 1960’s. Created by the American graphic designer and New York City Cooper Union graduate, Herbert F Lubalin.
In 1964, Lubalin formed his own design consultation firm named Herb Lubalin, Inc and during this time collaborated with Ginzburg on several 2magazines; Eros, Fact and Avant Garde (Avant Garde being their second) as creative director and designer.
The creation of the Avant Garde magazine logo was proving difficult, due to the letter form in the title. Therefore Lubalin specifically designed a tight-fitting letter form, with a futuristic appearance and instant recognizable identity. Which eventually became a momentous design of the 1960’s and one of the most original, iconic typefaces of the twentieth century.
Due to the popular demand of a complete typeface, Lubalin along with Tom Carnase hand drew all twenty six uppercase characters using a compass and t-square and in 1970 released the first full ITC Avant Garde font from his International Typeface Corporation. However the unfortunate misuse of the typeface by inexperienced designers and its overuse, branded it a stereotypical 1970s font.
3The strength of the Avant Garde typeface is undoubtedly in its all-cap ligatures and it is frequently stated that it should only be used as Lubalin originally intended – as a display font.
With the introduction of Open Type technology ITC has been able to release a complete version of Avant Garde Gothic, which offers the full breadth of Lubalin and Carnase’s design. Avant Garde Gothic was released in 2005 and includes additional cap and lowercase alternates, new ligatures that were drawn just for this release and a collection of biform characters (lowercase letters with cap proportions).
References
1. Avant Garde (magazine),
http://en.wikipedia.org/wiki/Avant_Garde_(magazine)
2. Herb Lubalin,
http://en.wikipedia.org/wiki/ITC_Avant_Garde#Avant_Garde
3. dot-font: Avant Garde, Then and Now,
http://www.creativepro.com/article/dot-font-avant-garde-then-and-now
In 1964, Lubalin formed his own design consultation firm named Herb Lubalin, Inc and during this time collaborated with Ginzburg on several 2magazines; Eros, Fact and Avant Garde (Avant Garde being their second) as creative director and designer.
The creation of the Avant Garde magazine logo was proving difficult, due to the letter form in the title. Therefore Lubalin specifically designed a tight-fitting letter form, with a futuristic appearance and instant recognizable identity. Which eventually became a momentous design of the 1960’s and one of the most original, iconic typefaces of the twentieth century.
Due to the popular demand of a complete typeface, Lubalin along with Tom Carnase hand drew all twenty six uppercase characters using a compass and t-square and in 1970 released the first full ITC Avant Garde font from his International Typeface Corporation. However the unfortunate misuse of the typeface by inexperienced designers and its overuse, branded it a stereotypical 1970s font.
3The strength of the Avant Garde typeface is undoubtedly in its all-cap ligatures and it is frequently stated that it should only be used as Lubalin originally intended – as a display font.
With the introduction of Open Type technology ITC has been able to release a complete version of Avant Garde Gothic, which offers the full breadth of Lubalin and Carnase’s design. Avant Garde Gothic was released in 2005 and includes additional cap and lowercase alternates, new ligatures that were drawn just for this release and a collection of biform characters (lowercase letters with cap proportions).
References
1. Avant Garde (magazine),
http://en.wikipedia.org/wiki/Avant_Garde_(magazine)
2. Herb Lubalin,
http://en.wikipedia.org/wiki/ITC_Avant_Garde#Avant_Garde
3. dot-font: Avant Garde, Then and Now,
http://www.creativepro.com/article/dot-font-avant-garde-then-and-now
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