Video was an appropriate format for the outcome due the set ‘always on’ target audience. The video features a protagonist who is never shown in full so that the audience can empathize closer with him. The quick cut edditting style of the video suggests a fast paced lifestyle that will reflect the lives of our target audience. Again this helps the audience feel a connection with our character. Our sequence of clips show our character speed through his everyday life oblivious to the enviromental outcomes of his actions. The video builds off of an existing WWF campaign (footprint calculator) which allows users to fill out a survey which will calculate the amount of planets we would need if everyone carried out the actions mentioned in the survey. This type of Normative Ethics is a theme which we kept consistent through our video. The aim of the video is to raise awareness of th footprint calculator and challenge the audience to see how they would do in the survey.

The aim of the video is to raise awareness of 51% bourbon’s bourbon masterclass. The video is shot in with a 50 mm lense to have a shallow depth of field giving the overall feel of the video quite a luxuious style. The video has accompainied photos which can be used for promotional purposes. The video focuses on a few key aspects of the bourbon masterclass: The members of staff, the bourbon experts presentation, and the customers engagement with the event. By showing customers enjoying themselves, the video portrays the event as a thoroughly enjoyable event which the audience would like to attend. 

The video acts as promotional material for the new mini golf course at Roxy Ballroom called ‘The Swingers Club’. The video is filmed with a 50mm lense to help focus more attention to certain things in frame. The video features diferent parts of the mini golf course to gives the audience a small prieview into what the course is like. Some clips feature customers enjoying themselves to show that the experience is enjoyable, whilst the upbeat rock music portrays a fun fastpaced experience. 

After submitting my poster design, I found comparing my design to other runners up and the winning design that my own was very dull in colour due to the colour of the background. This has been amended for submission by using a brighter yellow and orange background.

To organise the workflow of our video schedule we created storyboards which we could then use as references. The video incorporates many of the aspects mentioned in the WWF Footprint calculator put what we have learnt into context. The video will show what he does that has an impact on the planet. The video will end by advertising the WWF Footprint calculator to the audience and suggest that they see how they differ in results.

The video starts with short clips of a person waking up, having a shower and getting dressed.

The sequence will continue to show our character getting dressed, making tea and toast and then packing his electrical equipment for his day ahead.

We incorporated as much electrical equipment as possible to reflect the 'always on' generation that our character represents. Our character then uses the elevator and scanner at university.

We then show our character using his laptop and mobile phone to continue the theme of constant electrical usage. We plan to show our character using a printer and wasting a lot of paper.

Our character makes his way back home with the same usage of elevators and public transport as before.

As research for our video for WWF we looked at other quick paced videos that were filmed and edited well for a comical effect. Our own video will have a fast paced feel to it and sense of following the character as both of these do. Our original plan to film in the first perspective has changed to a close-up montage which follows our characters daily routine.

The 'Follow the frog' campaign is extremely engaging due to the comical timing, voice-over and ridiculous situational comedy. The comparison of the extreme events that take place and simply buying products which have a frog symbol on them really puts things into perspective for the audience. The harsh truth being stated to the audience adds a sense of friendly empathy towards the audience in its' tone of voice.

Long story short is a series which has a similar over-voice that is in the first person. This gives the audience a peek inside his head and his thought process which can help the audience empathise with him. The quick cuts also serve up light humour, but the series as a whole has no aims aside from humouring the audience.

I wanted to base my design around the musical aspect of the film. I began by looking at some photos I took of my friend a while ago whilst playing guitar to see if there were any photos I could use.

The use of a dynamic photo would help create a dynamic poster design. This would help reflect the action genre the film lies within.

Drawing attention to the plectrum is very important in my design as during the illustration process, it will be illustrated as a pixellated heart which is commonly seen in video games. This gives a clear link to the video game themes within the film and also shows that the film has a certain amount of romantic themes within it.

Settling on the image below I began illustrating the image and adding in appropriate imagery of the lightning bolts which are featured throughout the film.

Tweaking the colours I settled on a cream background which I directly found from a scene within the film. By changing image on the t-shirt to one that is featured in the film, this should establish that the person in frame is Scott Pilgrim himself. The rough, hand rendered type is influenced by that which is also used throughout the film, drawing more connections between the two. The messy layout and askew type also adds to the messy style within the film and has connections with the rock and roll theme the film presents. As vector based design can often look flat, the design has a series of layers with drop shadows to give the design more depth. The zig-zag lines across the poster cross over the white boarder to give a sense that the design is almost coming out the poster and helps stand out more to the audience.

The Japanese work KANDO means ‘for the heart’ or ‘to be deeply moved’. As this is a principle that Yamaha want to encorporate into their company they want the customer to experience Kando through the products sold to them. The interpretation above brings this idea of Kando being an emotion created by two things coming together: the customer and the product. The tear drop shape created by the overlapping shapes is the Kando created. The simplicity causes the icon to become quite versitile and be used in a series of ways. The tear drop is a connection to the common experience of crying when overwelmed with joy. The overall icon has a pleasant look with a resemblence to a love heart which links well with the experience of joy and happiness.

I produced a series of intricate paper aeroplanes as a new marketing tool for the Sirio Ultra Black paper. The paper aeroplanes act as the body of a campaign which consists of dramatic photos which can be used across multiple platforms to raise awareness of the Sirio range as well as a mailer which can be sent to studios which features one of the said planes and a few stock sample booklets. The paper aeroplanes are inspired by the connotations of stealth that resonate with the Sirio range.

As a physical outcome for the Fedrigoni brief a mailer was very appropriate. This is aimed at studios, allowing creative professionals to get a hands-on experience with Fedrigoni stock in a unique and engaging way. The completely black design of the box and content fits with the Sirio Ultra Black theme and keeps in tone with Fedrigonis own high quality brand identity. The mailer features one a paper aeroplane design which is featured throughout the campaign. The plane design would vary if this were to become a real campaign. The mailer also features a series of stock test flip books which can easily and neatly be distributed amongst designers within the studio. The aim is that the plane will find a place within each studio it is sent to. This stays as a constant reminder of the Fedrigoni company to the designers.

The plane is securely held in place with 2 belly bands which allow the plane to hover above the content of the mailer and allows the audiences a consistent and tidy experience when opening the box.

The images taken of the plane designs can be used in a variety of ways and on multiple platforms. Below are two mock-ups; one uses the Fedrigoni website as an example of it's use. The other is an example of the images uses within printed advertisements, most-likely design magazines. The ad would also feature a stock sample opposite which could be used to make the aeroplane design.

Brief

Understanding the needs of specific layouts for specific jobs is key to your development and practice. There are many times as a designer that you will have to consider differing formats for layout due to clients’ needs and also the need of information.

This one week task is a practical exercise that will highlight layout skills and understanding of application of text, point sizes, columns, margins, gutters, image, page size, bleed, scale, format, pagination, fluidity, audience and composition.

You will be given dummy type / text / images to work with during this task that is studio based. You will be given instructions per layout requirements and also a context to help you decide how information should be positioned and organised.

You will be expected to add your own design flourishes upon these designs, where appropriate.

You will share visual representations of your work with a partner / small group.  

Layout 1 – Minimal Text / image: A5 Flyer

Layout 2 - Text Heavy / Imagery: Concertina spread (10x A5 pages)

As soon as you have completed your flyers and brochures, you are expected to extend the range of design across platforms. Suggestions are: Poster / mail shot / tickets and appropriate mediums. 

As physical pieces of design to be given out to the audience I wanted to produce small paper planes which could be easily reproduced to be handed out to a mass audience. Below I have developed a smaller version of one of the planes with a simple 3 layered system. 

 It consists of 3 layers of paper which are stuck together. Potentially the diferent layers could be diferent stocks within the SIRIO range to give the audience a variety of paper samples in one design.

 The black mockup fits with the rest of the planes designs. The layers create a slick, smart look which presents Fedrigoni as a clean-cut, luxurious brand. The design may vary slightly, but this outcome is great. I may possible develop a series of smaller planes which can be sent to people.

Development began by constructing a variety of intricate paper aeroplanes which could then be photographed with a 50mm lens to give them the image a sense of scale. The paper planes were held with string and then later edited out.

The final images have a great aesthetic to them with a quite eery but smooth, slick overall look. The paper itself doesn't look particularly black in the image, but feedback showed that it was quite obvious that the exposure had changed the colour slightly. The image actually looks like the greyscale night vision. This 'night vision' theme could be taken forward as it has a clear link with darkness and also shows the point that Fedrigoni want to make about their new range of paper.

To be displayed as an advert, Fedrigonis logo and information on the product is needed within the design. Below are a few experiments with the use of the logo. Photoshopping the Fedrigoni logo onto the plane can add more value to the planes presence, but may cause the advert to show the logo too much. Kinetic type is that which interacts with what is in frame. By having the logo run alongside the bottom the plane and be slightly hidden by the wing, it gives the image a sense of depth and due to the askew angle, a sense of movement.

By casting a shadow on the logo, it also involves the logo in the image a lot more, but at the same time obstructs the logo which will not be wanted by the company. To an extent it draws more attention to it.

The most practical solution would be to have a consistent placement of the logo in a bottom corner. This fits with the brands humble, but luxurious identity.

The images are kept consistent throughout with the same editing process. This helps establish them as part of the same campaign and work as a series of images.

The most visually pleasing of the images is the one below which will be the main image for the campaign. Below are a few mock-ups of how the images can be used as printed adverts or be used online on the Fedrigoni website.

Development now is heading in a direction where I need to create physical pieces of design which are part of the campaign that can be sent to studios to advertise the paper range. This will consist of a box with a paper plane which can be displayed in the studio as well as the stock samples which I have been sent by fedrigoni. The pack will have to carry a similar theme to the campaign with mostly black paper and card and have a luxurious outcome that fits with the brands identity.

'SCOTT PILGRIM VS. THE WORLD is a little bit nuts. A surreal blend of comedy, martial arts and video game nostalgia, this adaptation of Bryan Lee O’Malley’s graphic novel follows the story of Scott (Michael Cera), a bassist in Toronto rock band Sex Bob-Om, as he tries to win over the girl of his dreams, Ramona Flowers, by defeating her seven evil ex-boyfriends. '

I have chosen this brief as Scott Pilgrim VS The World is one of my favourite films of all time. I'm also really keen to do more illustrative work.

I began my research by watching the film through, taking screenshots of the most memorable an iconic scenes in the film. Scott Pilgrim has a very clear link to video game and comic book imagery. The film takes the camera angles and script from the original comic books 

The comic book itself has a very unique style with thick black outlines which creates bold images.

The visual style of the film is taken from video games with thunderbolts, writing and icons come up on screen in a florescent pixelated style. This is an aspect of the film that focusing a design around would easily link to the film. Below are a few examples of these graphics in use:

Even the characters and choice of colours, scenery and clothing is kept in tone with the original comic book.

Pieces of bright type pop up on screen throughout the film which plays off of the type included in comic books that the characters are not aware of. This type is usually onomatopoeic, like 'thud' or 'thwack' but some scenes feature words which are being said as seen below.

Some shots are directly taken from the comic book as seen below. It would be interesting to show this in the design by merging images from the comic book and film and show the similarities.

Scott's bass guitar is quite iconic throughout the film as is the general them of rock and roll music. The guitar could play a key role within my design as 

Throughout the film, the screen is split up like a comic book strip to give the scene more of a sense of action and speed. This is something I could experiment with for my design.

Even the general orangey/yellow tone of colours is the same in the film. This is something to consider when choosing the colours for my own poster.

After this design was lucky enough to be chosen for the Feather competition, I was asked to produce some colour variations.

The original design had a 3 colour change system which could easily be substituted for other colours or equally all substituted for one colour as seen above.