User:Lidia.Pereira/Trimesters/RWRM/IAssignment: Difference between revisions
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'''''What?''''' | '''''What?''''' | ||
The '''Regretful Magdalene''' project comprises a series of graphical experiments that range from illustration to guerrilla design tactics, graphic to package design. For example, an infographics reflecting about global water shortage is part of this set of experiments, as is also a fake travel agency propaganda booklet advertising the Pacific's Garbage Patch. This booklet tries to emulate the visual identity of an existing travel agency as well as it possibly can and is then put in a public context (cafes, bars, libraries), mixing inconspicuosly with other propaganda (leaflets, flyers, etc). These are only two of the several experiments I worked on. The subsequent results are then presented in the form of a publication, which reflects on the common aspects that links all these experiments to each other. The materials I used (both on the experiments and their final publication) range from homemade glue (edible ingredients only) and moss paint to several types of recycled paper. | The '''Regretful Magdalene''' project comprises a series of graphical experiments that range from illustration to guerrilla design tactics, graphic to package design. For example, an infographics reflecting about global water shortage is part of this set of experiments, as is also a fake travel agency propaganda booklet advertising the Pacific's Garbage Patch. This booklet tries to emulate the visual identity of an existing travel agency as well as it possibly can and is then put in a public context (cafes, bars, libraries), mixing inconspicuosly with other propaganda (leaflets, flyers, etc). These are only two of the several experiments I worked on. The subsequent results are then presented in the form of a publication, which reflects on the common aspects that links all these experiments to each other. The materials I used (both on the experiments and their final publication) range from homemade glue (edible ingredients only) and moss paint to several types of recycled paper. | ||
'''''How?''''' | '''''How?''''' | ||
This set of experiments required some versatily as I worked with as many different techniques as possible, so describing the how for all of them would be unfeasible on this format. I will then only present some of the most technical interesting examples. One of these is coincidentally the one that failed blatantly: the moss graffiti. First I prepared a mix of butter milk, moss and water and then cut some stencils with the text I wanted to paint. Being thus prepared I set out to the streets to get my super moss paint on some walls. I then waited for weeks but nothing really happened. Another experience was a set of stickers which should not be printed on sticker paper, so I printed them in regular recycled paper and then glued them around using a glue prepared with water, wheat flour, sugar and vinegar. | This set of experiments required some versatily as I worked with as many different techniques as possible, so describing the how for all of them would be unfeasible on this format. I will then only present some of the most technical interesting examples. One of these is coincidentally the one that failed blatantly: the moss graffiti. First I prepared a mix of butter milk, moss and water and then cut some stencils with the text I wanted to paint. Being thus prepared I set out to the streets to get my super moss paint on some walls. I then waited for weeks but nothing really happened. Another experience was a set of stickers which should not be printed on sticker paper, so I printed them in regular recycled paper and then glued them around using a glue prepared with water, wheat flour, sugar and vinegar. | ||
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2. | 2. | ||
'''''What?''''' | '''''What?''''' | ||
'''Paradis Artificiels''' gets its name from the book Baudelaire wrote about drug usage. Working around this concept, I created the artwork for an invented opera. The final result comprises two books which seek to emulate a collector's edition: one is the deluxe edition of the musical score, while the other seeks to represent the opera's program. Both books have distinct yet graphically close illustrated covers, in which I try to explore complex details through the creation of vectorial patterns. These where then printed in olive green cardboard, whilst the book interior was all printed in recycled paper. | '''Paradis Artificiels''' gets its name from the book Baudelaire wrote about drug usage. Working around this concept, I created the artwork for an invented opera. The final result comprises two books which seek to emulate a collector's edition: one is the deluxe edition of the musical score, while the other seeks to represent the opera's program. Both books have distinct yet graphically close illustrated covers, in which I try to explore complex details through the creation of vectorial patterns. These where then printed in olive green cardboard, whilst the book interior was all printed in recycled paper. | ||
'''''How?''''' | '''''How?''''' | ||
The process for this project started with an effort to gather as many poems and texts relating to drug usage as I could - these include poems by Samuel Coleridge, Lord Byron, Fernando Pessoa, Percy Bysshe Shelley, Baudelaire and John Keats and texts by Thomas DeQuincey, Jack Kerouac and William S. Burroughs. I was then presented with different text formats that had different editorial demands. How would I arrange them in a consistent editorial structure? First I made a decision to use the poems as if they were the lyrics, usually printed below the musical notation, and the texts as if they were short descriptions of the opera scenes. Would it make more sense to print one big volume comprising both musical scores and program or rather publish them in different volumes? Deciding on the latter, I used Adobe InDesign to work on their editorial structure and Adobe Illustrator to work on their covers. | The process for this project started with an effort to gather as many poems and texts relating to drug usage as I could - these include poems by Samuel Coleridge, Lord Byron, Fernando Pessoa, Percy Bysshe Shelley, Baudelaire and John Keats and texts by Thomas DeQuincey, Jack Kerouac and William S. Burroughs. I was then presented with different text formats that had different editorial demands. How would I arrange them in a consistent editorial structure? First I made a decision to use the poems as if they were the lyrics, usually printed below the musical notation, and the texts as if they were short descriptions of the opera scenes. Would it make more sense to print one big volume comprising both musical scores and program or rather publish them in different volumes? Deciding on the latter, I used Adobe InDesign to work on their editorial structure and Adobe Illustrator to work on their covers. | ||
3. | 3. | ||
'''''What?''''' | '''''What?''''' | ||
'''Easter''' is a series of nine photos which construct a narrative based on Anton Chekov's “The Day Before Easter”. When put together, these photos convey the sense of a route, of a path that somebody takes across a rural landscape in which we can see, every now and then, connections to Christian symbology, like crosses and monuments to the cavalry. The subdued natural light that is transversal to all of them, as well as the near absence of a human figure, holds this series together in a pastel color ambiance. | '''Easter''' is a series of nine photos which construct a narrative based on Anton Chekov's “The Day Before Easter”. When put together, these photos convey the sense of a route, of a path that somebody takes across a rural landscape in which we can see, every now and then, connections to Christian symbology, like crosses and monuments to the cavalry. The subdued natural light that is transversal to all of them, as well as the near absence of a human figure, holds this series together in a pastel color ambiance. | ||
'''''How?''''' | '''''How?''''' | ||
This series was all shot in one day while wandering around a small rural village in Portugal. I used an analog Nikon and a 400 ASA color film. | This series was all shot in one day while wandering around a small rural village in Portugal. I used an analog Nikon and a 400 ASA color film. | ||
Revision as of 12:10, 18 September 2013
1. What?
The Regretful Magdalene project comprises a series of graphical experiments that range from illustration to guerrilla design tactics, graphic to package design. For example, an infographics reflecting about global water shortage is part of this set of experiments, as is also a fake travel agency propaganda booklet advertising the Pacific's Garbage Patch. This booklet tries to emulate the visual identity of an existing travel agency as well as it possibly can and is then put in a public context (cafes, bars, libraries), mixing inconspicuosly with other propaganda (leaflets, flyers, etc). These are only two of the several experiments I worked on. The subsequent results are then presented in the form of a publication, which reflects on the common aspects that links all these experiments to each other. The materials I used (both on the experiments and their final publication) range from homemade glue (edible ingredients only) and moss paint to several types of recycled paper.
How?
This set of experiments required some versatily as I worked with as many different techniques as possible, so describing the how for all of them would be unfeasible on this format. I will then only present some of the most technical interesting examples. One of these is coincidentally the one that failed blatantly: the moss graffiti. First I prepared a mix of butter milk, moss and water and then cut some stencils with the text I wanted to paint. Being thus prepared I set out to the streets to get my super moss paint on some walls. I then waited for weeks but nothing really happened. Another experience was a set of stickers which should not be printed on sticker paper, so I printed them in regular recycled paper and then glued them around using a glue prepared with water, wheat flour, sugar and vinegar.
2.
What?
Paradis Artificiels gets its name from the book Baudelaire wrote about drug usage. Working around this concept, I created the artwork for an invented opera. The final result comprises two books which seek to emulate a collector's edition: one is the deluxe edition of the musical score, while the other seeks to represent the opera's program. Both books have distinct yet graphically close illustrated covers, in which I try to explore complex details through the creation of vectorial patterns. These where then printed in olive green cardboard, whilst the book interior was all printed in recycled paper.
How?
The process for this project started with an effort to gather as many poems and texts relating to drug usage as I could - these include poems by Samuel Coleridge, Lord Byron, Fernando Pessoa, Percy Bysshe Shelley, Baudelaire and John Keats and texts by Thomas DeQuincey, Jack Kerouac and William S. Burroughs. I was then presented with different text formats that had different editorial demands. How would I arrange them in a consistent editorial structure? First I made a decision to use the poems as if they were the lyrics, usually printed below the musical notation, and the texts as if they were short descriptions of the opera scenes. Would it make more sense to print one big volume comprising both musical scores and program or rather publish them in different volumes? Deciding on the latter, I used Adobe InDesign to work on their editorial structure and Adobe Illustrator to work on their covers.
3. What?
Easter is a series of nine photos which construct a narrative based on Anton Chekov's “The Day Before Easter”. When put together, these photos convey the sense of a route, of a path that somebody takes across a rural landscape in which we can see, every now and then, connections to Christian symbology, like crosses and monuments to the cavalry. The subdued natural light that is transversal to all of them, as well as the near absence of a human figure, holds this series together in a pastel color ambiance.
How?
This series was all shot in one day while wandering around a small rural village in Portugal. I used an analog Nikon and a 400 ASA color film.