30.3.13
25.3.13
wire development
The later designs are too busy with the wired type but i definitely feel like the original wired type works better. The copper wired visual works quite well in terms of an aesthetic for the brief. It's conceptual and stands out quite a lot from the page. I'll develop designs for this and see what more i can do with this.
23.3.13
22.3.13
poster development
Experimenting with poster visuals using the new wired effect. As a design i feel it looks to busy so i'll continue to play around image. I do however like the type on the poster but again i definitely needs refining.
20.3.13
visuals
I've been experimenting with visuals, which have been inspired by the electronics behind the machines that create electronic music. I wanted to use this imagery to create a identity for the exhibition and use experimental type for the Oramics to Electronica. Using the effect of wiring i created this joined up type that could sit quite nicely on the posters...
15.3.13
brief 4
Brief
I've decided to bring together a brief consisting of a collection of identity/logo designs that I've been working on this year. Rather than doing them as separate briefs it makes sense to bring them together.
They are four logo designs I've been and will be working on, three for music and one for fashion:
Oscar Wild - a music producer looking for a logo and an online presence.
Cirque Du Soul - identity for an upcoming house/funk night.
Option One - a new house night looking to set up after parties in order to get their name & logo recognized.
Fashion Show & Exhibition - looking for an identity / logo
I've decided to bring together a brief consisting of a collection of identity/logo designs that I've been working on this year. Rather than doing them as separate briefs it makes sense to bring them together.
They are four logo designs I've been and will be working on, three for music and one for fashion:
Oscar Wild - a music producer looking for a logo and an online presence.
Cirque Du Soul - identity for an upcoming house/funk night.
Option One - a new house night looking to set up after parties in order to get their name & logo recognized.
Fashion Show & Exhibition - looking for an identity / logo
image
Experimenting with some visuals and layout for the poster designs to see what i could potentially use for the aesthetic for the brief. Although i like the idea of using this sort of shape for the designs i feel there's a lot more potential and so more development is needed.
14.3.13
10.3.13
6.3.13
OBAFGKM
When looking at stellar classification, O B A F G K M, we need to obtain an example of a star for each category.
O
Class O stars are very hot and extremely luminous, being bluish in color. An example of this star category is Alpha Camelopardalis
Spectral Type: O9.5
Apparent Magnitude: 4.3 v
Distance: 6,000 ly
Mass: 43.2 solar mass
Radius: 36.8
Temperature: 27,700k
Age: 2 million years
Rotational Velocity: 80 km/s
B
Class B stars are very luminous and blue eg Rigel
Spectral Type: B8
Apparent Magnitude: 0.1 v
Distance: 772.9 ly
Mass: 18 solar mass
Radius: 74 r
Temperature: 12,130 k
Age: 8 million years
Rotational Velocity: 40 km/s
A
Class A stars are among the more common naked eye stars, and are white or bluish-white eg Sirius
Spectral Type: A1
Apparent Magnitude: -1.5 v
Distance: 8.6 ly
Mass: 2.0 solar mass
Radius: 1.7 r
Temperature: 9,940 k
Age: 250 million years
Rotational Velocity: 16 km/s
F
Class F stars are mostly white eg Polaris
Spectral Type: F7
Apparent Magnitude: 1.9 v
Distance: 433.8 ly
Mass: 4.5 solar mass
Radius: 46 r
Temperature: 6,015 k
Age: 70 million years
Rotational Velocity: 14 km/s
G
Class G stars are probably the best known, if only for the reason that the Sun is of this class eg Our Sun
Spectral Type: G2
Apparent Magnitude: -26.7 v
Distance: 8.3 minutes at light speed
Mass: 1 solar mass
Radius: 1 r
Temperature: 5,778 k
Age: 4.5 billion years
Rotational Velocity: 20 km/s
K
Class K are orangish stars that are slightly cooler than the Sun eg Arcturus
Spectral Type: K1.5
Apparent Magnitude: -2.3 v
Distance: 36.7 ly
Mass: 1.1 solar mass
Radius: 25.7 r
Temperature: 4,290 k
Age: 5 trillion years
Rotational Velocity: 2.4 km/s
M
Class M is by far the most common class. An example is Betelgeuse
Spectral Type: M2
Apparent Magnitude: 0.42 v
Distance: 643 ly
Mass: 18 solar mass
Radius: 1180 r
Temperature: 3,500 k
Age: 10 million years
Rotational Velocity: 5 km/s
O
Class O stars are very hot and extremely luminous, being bluish in color. An example of this star category is Alpha Camelopardalis
Spectral Type: O9.5
Apparent Magnitude: 4.3 v
Distance: 6,000 ly
Mass: 43.2 solar mass
Radius: 36.8
Temperature: 27,700k
Age: 2 million years
Rotational Velocity: 80 km/s
B
Class B stars are very luminous and blue eg Rigel
Spectral Type: B8
Apparent Magnitude: 0.1 v
Distance: 772.9 ly
Mass: 18 solar mass
Radius: 74 r
Temperature: 12,130 k
Age: 8 million years
Rotational Velocity: 40 km/s
A
Class A stars are among the more common naked eye stars, and are white or bluish-white eg Sirius
Spectral Type: A1
Apparent Magnitude: -1.5 v
Distance: 8.6 ly
Mass: 2.0 solar mass
Radius: 1.7 r
Temperature: 9,940 k
Age: 250 million years
Rotational Velocity: 16 km/s
F
Class F stars are mostly white eg Polaris
Spectral Type: F7
Apparent Magnitude: 1.9 v
Distance: 433.8 ly
Mass: 4.5 solar mass
Radius: 46 r
Temperature: 6,015 k
Age: 70 million years
Rotational Velocity: 14 km/s
G
Class G stars are probably the best known, if only for the reason that the Sun is of this class eg Our Sun
Spectral Type: G2
Apparent Magnitude: -26.7 v
Distance: 8.3 minutes at light speed
Mass: 1 solar mass
Radius: 1 r
Temperature: 5,778 k
Age: 4.5 billion years
Rotational Velocity: 20 km/s
K
Class K are orangish stars that are slightly cooler than the Sun eg Arcturus
Spectral Type: K1.5
Apparent Magnitude: -2.3 v
Distance: 36.7 ly
Mass: 1.1 solar mass
Radius: 25.7 r
Temperature: 4,290 k
Age: 5 trillion years
Rotational Velocity: 2.4 km/s
M
Class M is by far the most common class. An example is Betelgeuse
Spectral Type: M2
Apparent Magnitude: 0.42 v
Distance: 643 ly
Mass: 18 solar mass
Radius: 1180 r
Temperature: 3,500 k
Age: 10 million years
Rotational Velocity: 5 km/s
5.3.13
EMS
The exhibition highlights the work of three British studios that produced electronic music in the 1960s and 1970s. Electronic Music Studios (EMS) was one of three, the others being Daphne Oram with the Oramics machine and BBC Radiophonic Workshop introducing electronic effects to the public through radio and television.
Electronic Music Studios (London) Ltd. was formed in 1969 by Dr. Peter Zinovieff to market innovative ideas arising from his private studio and interest in musical applications of computers. Over the next ten years many seminal products were released and many talented designers worked for the company. EMS had its own peculiar brand of British eccentricity which could be both endearing and annoying, but should be viewed in the context of true pioneering. It is easy to copy and follow others, but not to think up new ideas in the first place and EMS had no shortage of originality. The EMS influence was significant and can be traced into many contemporary products. EMS is best known for its VCS3/Synthi A synthesizers (which will be displayed at the exhibition) but that was just the tip of the iceberg.
The BBC Radiophonic Workshop introduced electronic compositions and released many CDs, some of which include:
Doctor Who at the BBC Radiophonic Workshop Volume 1 - The Early Years
Pink Floyd - Meddle, Obscured by Clouds, Dark Side of the Moon, Animals, Wish You Were Here
Pete Townsend/The Who - Who's Next
Edgar Froese/Tangerine Dream - all early albums
Malcolm Cecil/TONTO - Zero Time, It's About Time
Electronic Music Studios (London) Ltd. was formed in 1969 by Dr. Peter Zinovieff to market innovative ideas arising from his private studio and interest in musical applications of computers. Over the next ten years many seminal products were released and many talented designers worked for the company. EMS had its own peculiar brand of British eccentricity which could be both endearing and annoying, but should be viewed in the context of true pioneering. It is easy to copy and follow others, but not to think up new ideas in the first place and EMS had no shortage of originality. The EMS influence was significant and can be traced into many contemporary products. EMS is best known for its VCS3/Synthi A synthesizers (which will be displayed at the exhibition) but that was just the tip of the iceberg.
The BBC Radiophonic Workshop introduced electronic compositions and released many CDs, some of which include:
Doctor Who at the BBC Radiophonic Workshop Volume 1 - The Early Years
Pink Floyd - Meddle, Obscured by Clouds, Dark Side of the Moon, Animals, Wish You Were Here
Pete Townsend/The Who - Who's Next
Edgar Froese/Tangerine Dream - all early albums
Malcolm Cecil/TONTO - Zero Time, It's About Time
4.3.13
shapes
Whilst doing some research into the oramics machine I found some really interesting shapes that are painted onto film from the machine. I think these shapes have a lot of potential in terms of visuals for designs and context and could work well with screen print. I'll continue to search for appropriate visuals that will be incorporated into the design process for promotion.
oramics machine
A brief history of the oramics machine:
Daphne Oram attended Sherborne School where she studied music, and subsequently was accepted for the Royal College of Music in 1942. She joined the BBC as a Junior Programme Engineer, drawing on her musical talent and technical skills she had learned from her brother, an electrical engineer, with whom she had built radio transmitters and receivers as a child. Her responsibilities at the time included sequencing the playback of classical recordings, which required the seamless transition every four minutes between 78 RPM discs. Engineers had to sync and mix the discs that made up the long symphonies to play them in full live, a technique almost identical to mixing two vinyl records today.
One of the features of joining the BBC at the time was the scope and depth of the training programme offered to new employees. Oram attended a residential course in 1944 which focussed on broadcast engineering. During the course a particular device caught her attention, the Cathode Ray Oscilloscope. The machine is used to display the characteristics of waveforms—in this case sound waves—graphically. Characteristically keen to advance her understanding of the technology for her own creative ends, she asked the tutor at the time whether it would be possible to reverse the process of the oscilloscope, drawing the waveform in and thereby controlling the harmonic content of the soundwave. He replied "no," a word which seems to have been interpreted by Oram as a direct challenge. It was not long after this encounter that she began to refer to the idea for a "graphical music" system. She resigned to set up her own studio, the Oramics Studios for Electronic Composition, and to begin work in earnest on her system for graphical music, the Oramics Machine.
Daphne Oram attended Sherborne School where she studied music, and subsequently was accepted for the Royal College of Music in 1942. She joined the BBC as a Junior Programme Engineer, drawing on her musical talent and technical skills she had learned from her brother, an electrical engineer, with whom she had built radio transmitters and receivers as a child. Her responsibilities at the time included sequencing the playback of classical recordings, which required the seamless transition every four minutes between 78 RPM discs. Engineers had to sync and mix the discs that made up the long symphonies to play them in full live, a technique almost identical to mixing two vinyl records today.
One of the features of joining the BBC at the time was the scope and depth of the training programme offered to new employees. Oram attended a residential course in 1944 which focussed on broadcast engineering. During the course a particular device caught her attention, the Cathode Ray Oscilloscope. The machine is used to display the characteristics of waveforms—in this case sound waves—graphically. Characteristically keen to advance her understanding of the technology for her own creative ends, she asked the tutor at the time whether it would be possible to reverse the process of the oscilloscope, drawing the waveform in and thereby controlling the harmonic content of the soundwave. He replied "no," a word which seems to have been interpreted by Oram as a direct challenge. It was not long after this encounter that she began to refer to the idea for a "graphical music" system. She resigned to set up her own studio, the Oramics Studios for Electronic Composition, and to begin work in earnest on her system for graphical music, the Oramics Machine.
3.3.13
1.3.13
cirque du soul
description of cirque du soul on the website:
"Roll up roll up.. the circus is back in town!
A travelling collective energy of colour, magic and dance. Only the most vibrant and open-minded party goers need apply. The 21st Century’s Moulin Rouge - burlesque meets bass. It's time for you to know about Cirque Du Soul.
Once a month we will invade the most quirky of hideouts in a selected city, dusting out the cobwebs, chalking up the cocktail menu and sweeping the stage for a sell-out showdown of bohemian madness.
The air will be soaked with the freshest collection of house, funk, soul, electro-swing, disco, garage and hip-hop this side of Chicago. Each city bags its own headliner - and the junkies can hop skip and jump to the next performance with our travelling troupe.. but space is limited.
You have to play by the rules of the circus. Admission refused without visual delights. Long tails and corsets, top hats and canes, glitter, sequins and feathers, blacks, reds, golds - the boys dress up and the girls dress down. No exceptions.
We've picked the cities, now you pick the circus"
"Roll up roll up.. the circus is back in town!
A travelling collective energy of colour, magic and dance. Only the most vibrant and open-minded party goers need apply. The 21st Century’s Moulin Rouge - burlesque meets bass. It's time for you to know about Cirque Du Soul.
Once a month we will invade the most quirky of hideouts in a selected city, dusting out the cobwebs, chalking up the cocktail menu and sweeping the stage for a sell-out showdown of bohemian madness.
The air will be soaked with the freshest collection of house, funk, soul, electro-swing, disco, garage and hip-hop this side of Chicago. Each city bags its own headliner - and the junkies can hop skip and jump to the next performance with our travelling troupe.. but space is limited.
You have to play by the rules of the circus. Admission refused without visual delights. Long tails and corsets, top hats and canes, glitter, sequins and feathers, blacks, reds, golds - the boys dress up and the girls dress down. No exceptions.
We've picked the cities, now you pick the circus"
flocking
Flocking is the process of depositing small fibres (flock) that when heated raise to create a surface texture with the prints. It will be applied to the terrestrial planets to accentuate the solidity in comparison to the gaseous planets. We found the technique created a really interesting surface on the stock. We'll definitely have to practice this print process in order to perfect the consistency of the flock as some areas came out quite patchy. We found it was more effective/contrasting on the black stock.
The areas that were interesting were actually on the misprints where the paint created shapes that one might find on the surface of a terrestrial planet. Like the screen that was used for the metallic screen prints, the screen wasn't properly exposed due to the printer so this definitely would have effected the quality of the flocking print.
The areas that were interesting were actually on the misprints where the paint created shapes that one might find on the surface of a terrestrial planet. Like the screen that was used for the metallic screen prints, the screen wasn't properly exposed due to the printer so this definitely would have effected the quality of the flocking print.
metallic
Oli & I did a few screen print experiments with paint & stock. We exposed two circles onto a paper screen, one being a block coloured circle and the other half tone image of our moon. The only problem was that the black didn't print dark enough from the studio printers so the screen had a grainy texture to it. Seeing as it's just a tester it's fine, as the grain actually looked quite nice, but for the final prints we'll have to print block black circles downstairs in the digital printers.
We were thinking of using metalic paint for the moons due to the components of which they're made up of. The half tone image was applied in order to display each unique surface of the moons in our solar system. Fluorescent paint was also used which we think will be potentially applied with the suns to dramatise the luminosity.
We're currently looking into ordering some heat sensitive paint as some suns are supposedly so cold you could actually touch them, so this would add a really nice edge to the prints. For the moons we've been looking into getting some light reflective paint or some glow in the dark paint as it's contextual to the moons, and again, it would add another dimension to the prints.
The metallic copper paint was really nice to work with and we're keen to do some more prints experimenting with gold pearl, silver, bronze etc.
We were thinking of using metalic paint for the moons due to the components of which they're made up of. The half tone image was applied in order to display each unique surface of the moons in our solar system. Fluorescent paint was also used which we think will be potentially applied with the suns to dramatise the luminosity.
We're currently looking into ordering some heat sensitive paint as some suns are supposedly so cold you could actually touch them, so this would add a really nice edge to the prints. For the moons we've been looking into getting some light reflective paint or some glow in the dark paint as it's contextual to the moons, and again, it would add another dimension to the prints.
The metallic copper paint was really nice to work with and we're keen to do some more prints experimenting with gold pearl, silver, bronze etc.
moffitt moffitt
No More is an independent exhibition set up by Moffitt Moffitt. It's a study of excess and restraint within contemporary music. What I like about this exhibition is the clarity and simplicity of the black and white posters on the wooden table with the minimal design of the room. Visually it works really well with the images in high contrast. The images used are really intriguing which is something I want to work with for the Electronica exhibition. Photography is definitely something I'll be incorporating into the designs.
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