Photography and Illustration

Balmoral Font

Martin Wait

Information about the font designer Martin Wait and his typefaces.

Martin Wait was born in 1942 at Forest Gate, East London, UK. He went to Lister Technical College, an art school that gave him a basic training in art. From there he worked in various studios around London where he was taught lettering.

He sent an idea for a typeface to Letraset; they rejected it but liked the lettering on his letterhead. He drew up a font based on that, which subsequently became Masquerade.

He went on to design and draw up about 30 typefaces for Letraset. He now lives and works at Horndon on the Hill, Essex, UK, with his wife and youngest son.

[Martin Wait, April 2002]


About Balmoral™ Plain

Martin Wait designed Balmoral in 1978. Balmoral is an elegant and free-flowing copperplate script style typeface. Generous initial capitals complement the more restrained lowercase letters that join for balanced letter spacing in word settings. Balmoral is excellent for use on certificates, citations, diplomas, and in greeting card applications.


Other fonts designed by Martin Wait:

Artiste
Balmoral
Balmoral (EF)
Balmoral (ICG)
Banner
Bertram
Challenge Bold
Challenge Bold (EF)
Linotype Conference
Conference
Emphasis
Forest Shaded
Freestyle Script
Freestyle Script (EF)
Freestyle Script Bold
Hadfield
Hadfield (EF)
Linotype Horndon
Horndon
Informal Roman
Julietrose
Laser
Laser Chrome
New Spectra
EF Pendry Script
Pendry Script
Pritchard
Pritchard Line Out
Rapier
Refracta
Riva
Linotype Roman Script
Roquette
Scriba
Tractor
Wild Thing


Reference:
http://www.identifont.com/show?16G
http://www.linotype.com/29/fontdesigners.html
http://www.myfonts.com/person/wait/martin/
http://images.google.com.au

Promotional Design Project - Stage 03

WATERSAVERS STAGE III

Report prepared by Hans Eijdenberg for Box Hill TAFE Centre for Media Design & Arts
Report requested: 26 April 2007
Report due: 17 May 2007


The game's basic concept and story board appeared to be well received by the audience, and generally speaking there seems to be no need to change the concept outline. There is no doubt that the game's story board will need to be tweaked during the final research, writing and illustration stages.

I will be looking at integrating the "can you guess" and "did you know” segments, as I feel that here may be overlap in content in those sections. Once I've completed the writing I'll be in position to review that situation.

Also, I will need to address final delivery of the game - internet or DVD?  I'm confident that the game can happily be part of web based system, however content delivery will depend on the final game structure and other factors that are presently not known to me.    

Combined with being a novice to computer game development, possessing a limited knowledge of Flash software, and not having a degree in cognitive physiology and/or copy writing, I feel that my development methodology will be unorthodox, and at times I will be putting the cart before the horse.

This approach has already reflected in my original presentation, which exceeds the demands of the brief. However, without prior knowledge of correct development strategies, I felt that I could not present a concept  without putting in the extra yards. 


For my next steps propose to commence a skeleton version of the game in Flash, whilst simultaneously developing and refining the written content and illustrations.  This will establish a tone for the graphic user interface, navigation, and help with solving interactivity issues. 


This process will not only involve the client with the development and approval processes of the game, but their involvement during this time will give the client ownership of the game, and save major surprises and/or revisions at the completion stages.

I look forward to commence the next steps of this exiting project. 

Digital Typography

Glossary of Terms

Typography

The study, design and usage of fonts and typefaces. At one point, before digital type, a typographer was a specialist in the field of designing and setting type. With the advent of the digital age of desktop publishing there are few, outside of typeface designers, who call themselves typographers. Indeed, every graphic designer should be able to call themselves a typographer to some degree.

Ascender

A typographic term for the portion of lowercase characters that rises above the main body of the letter. The lowercase letters b, d, f, h, k, l and t have ascenders.

Baseline

The baseline is the imaginary rule where lines of text sit.

Character Space

A character space is a value for spacing between characters set by the font designer.

Counter

The white space enclosed by a letterform, whether wholly enclosed (as in "d" or "o") or partially (as in "c" or "m").

Descender

That portion of a letter that falls below the baseline, as in 'j', 'g', 'q', 'p' and 'y'.

Display Type

Display fonts are those that are designed to be used for on-screen use, rather than for printed reproduction. Fonts such as Verdana and Trebuchet, for example, were specifically designed for use on web sites as they are extremely readable on computer screens.

Em Dash

A long 'hyphen' (although it can also refer to a measurement of space) traditionally being the length of an uppercase letter 'M'. Under desktop publishing, the length can vary from this and is generally the same measurement as the size of the line of type.
Inpage layout packages it is possible to specify, in the preferences, whether to use the traditional typesetters Em size or the digital PostScript measurement.
An Em dash measures 1/6th of 1".

En Dash

Unit of measurement (usually applied to a 'hyphen' style dash) that is half the width of an Em. An En dash measures 1/12th of 1".

Hanging Punctuation

Hanging punctuation "hangs" the quote mark outside the text edge.


Hyphen

A hyphen ( - ) is a punctuation mark. It is used both to join words and to separate syllables. It is often confused with a dash ( –, —, ― ), which is longer. Hyphenation is the use of hyphens.


Justified type

Justified type is when a paragraph of text is set to the full width of the line length, so that it aligns flush on both sides.

Kerning

Kerning is to reduce space between a pair of letters for better visual spacing.

Leading

Leading is the term applied to the spacing between lines of text. It is called leading due to the fact that, in the days of hot-metal typesetting, strips of lead were used to enlarge the space between lines of type.

Ligatures

Two or more characters combined to form a single character or glyph, for example the lower-case 'f' and 'l'. Ligatures are used to combine certain letters so as to avoid an ugly clash between elements of each character. Ligatures are rarely used for headlines.

Line Spacing

The vertical distance between two lines of type, measured from base line to base line. For example, 10/12 indicates 10-point type with 12 points base to base (that is, with 2 points of leading).

Non-breaking Space

A space character which is treated as a letter for word-break purposes. In HTML a non-breaking space is a white-space character that will not condense. It is usually used to hold open table cells and add spacing between words.

Paragraph Formatting

Paragraph formatting is a method of setting up styles in small or large docments to ensure consistency in appearance



Pica

Unit of measurement equivalent to 4,216 mm. There are 6 Picas to 1" (25.4 mm).

Point System

A Point is the smallest of the typographical measuring units. 1 point equals 0,351 mm. There are 12 points in a Pica and 72 ponts to 1". The Point system is the most common form of measurement for setting type. Font sizes and line spaces (leading) are nearly always specified in points. The size of a font is measures from the top of the ascender to the bottom of the descender.

Serif

A serif font is a typeface that has an extra stroke at the end of the vertical and horizontal strokes of the main letter-form. A font that doesn't have this extra stroke is known as sans-serif.

Examples of serif typefaces include Times, Garamond, Goudy and Palatino. It used to be a commonly accepted wisdom that serif fonts were more readable than sans-serf for large blocks of printed body copy. This theory has been questioned in recent times - but the argument still rages amongst designers.

Sans-serif

Type-styles that lacks the serif stroke at the end of the horizontal or vertical strokes of the main letter-form.


Smart Quotes

Quotation marks, also called quotes or inverted commas, are punctuation marks used in pairs to set off speech, a quotation, or a phrase. The pair consists of an opening quotation mark and a closing quotation mark, which may or may not be the same character.


Tracking

Tracking is similar to Kerning, in that it affects the spacing between letters. But, rather then reducing the space between two letter-faces individually, tracking affects a whole word, or sentence, depending on how much text is selected to track.

Tracking is often used by typesetters and DTP operators to get a line of text to fit. By compressing the space between the letters in a word or line of text, a line that is too long to fit in a column of text can be brought back to fit. This is known as 'negative tracking'.

Positive tracking letters is generally frowned upon by typesetters. This stems partially from a misquote attributed to the typographer Frederic Goudy. Upon receiving an award, printed in his famous Blackletter typeface, Goudy is said to have sneered that;'anyone who would letterspace blackletter would steal sheep'. This has since been mistranslated as; 'anyone who would letterspace lowercase would steal sheep".

Whether it is indeed wrong to positively track letters, or not and under what circumstances, is a debate that still rages amongst designers.

Type Alignment

In typesetting and page layout, alignment or range, is the setting of text flow or image placement relative to a page, column (measure), table cell or tab. The type alignment setting is sometimes referred to as text alignment, text justification or type justification.

Wordspace

The space between words, which may be expanded for purposes of justification.

X-Height

In typographical terminology, the x-height of a font is the distance between the baseline of a line of type and the top of the main part of the lower-case letter-faces - apart from the ascenders and descenders. The letter 'x' is obviously used as prime example.


Reference:
http://www.designtalkboard.com/glossary/fonts/n-glossary.php
http://www.redsun.com/type/glossary/c.shtml
http://home.vicnet.net.au/~typo/glossary/alpha-4.htm
http://www.google.com.au/search
http://en.wikipedia.org/wiki/Typographic_alignment
http://desktoppub.about.com/od/typelayout/ss/hangingquotes.h

Print Media Studio 01 - Colour Research

Glossary of Terms

Colour

A colour is a visual attribute of things that results from the light they emit or transmit or reflect.

Hue

A hue is the quality of a colour as determined by its dominant wavelength.

Chroma

A chroma is the degree of a colour's brilliance.

Value

Colour value is defined as the relative lightness or darkness of a colour.

Saturation

Saturation is the purity or strength of color, due to the absence of black, white or gray.

Tint

A tint (or pastel) is a hue with a white added.

Shade

A shade is a hue with a black added.

Pastel

A pastel (or tint) is a hue with white added.

Tone

A tone is a hue with grey added.

RGB

RGB stands for the colours Red-Green-Blue.

CMYK

CMYK stands for the colours Cyan-Magenta-Yellow and Black.

L/ab

Lab colour is a colour model developed by the International Consortium on Illumination. The Lab model, like other CIE colour models, defines colour values mathematically in a device-independent manner. Lab colour is consistent colour regardless of the device producing it.

Websafe

Web safe colours are colours used in designing web pages, and the methods for describing and specifying those colours.

Hexadecimal

Hexadecimal is a numbering system which uses a base of 16. The first ten digits are 0-9 and the next six are AF.
Hexadecimal numbers are used to colour web pages. For example, the hexadecimal equivalent for the colour white is #FFFFFF.

Pantone matching system

A popular colour matching system used by the printing industry to print spot colours. Most applications that support colour printing allow you to specify colours by indicating the Pantone name or number. This assures that you get the right colour when the file is printed, even though the colour may not look right when displayed on your monitor.

Triadic colour (a Triad)

The triadic colour scheme uses three colors equally spaced around the colour wheel.

Tetradic colour (a Tetrad)

The tetradic (double complementary) scheme is the most varied because it uses two complementary colour pairs.

Complementary colour

The complementary colour scheme consists of two colours that are opposite each other on the colour wheel.

Split complementary colour

The split complementary scheme is a variation of the standard complementary scheme. It uses a colour and the two colours adjacent to its complementary.

Analogous colour

The analogous colour scheme uses colours that are adjacent to each other on the colour wheel.

Achromatic colour

A achromatic colour is a colour lacking hue; white or grey or black.

Monochromatic colour

The monochromatic colour scheme uses variations in lightness and saturation of a single colour.

Contrast by extension (or volume)

Contrast of extension is when one colour is extended over a large area, contrasting another colour extended over a very small area.

Additive colour

An additive colour system involves light emitted directly from a source or illuminant of some sort. The additive reproduction process usually uses red, green and blue light to produce the other colours

Subtractive colour

Subtractive colour explains the theory of mixing paints, dyes, inks, and natural colorants to create colours which absorb some wavelengths of light and reflect others.

Simultaneous contrast

Simultaneous contrast is the phenomenon which occurs when a colour appears to change when seen against a different background.

Luminosity

Luminosity is the brightness of either a light source or a reflective surface.

Inverted colour

An inverted colour is a colour that is on the opposite side of the colour wheel.

Drawing Techniques

Glossary of terms

Graphite

A crystalline form of carbon that was used at first as either a lump or sharpened point set into a metal holder. Although one of the finest lodes of graphite was discovered in 1560 at Borrowdale, England, extraction of the mineral was so highly regulated that its continued high price prevented any widespread usage until the late seventeenth century. In 1662, Friederich Staedtler began to manufacture pencils in Nuremberg. The strokes produced by graphite leave a line that has a relatively dark metallic luster, similar to lead point. The early misidentification of graphite with lead was not to be scientifically disproved until 1779, by which time the misconception that lead and graphite are one and the same had already entered modern-day usage--hence the confused nomenclature of lead pencil.

Form

Form describes volume and mass, or the three-dimensional aspects of objects that take up space. Forms can and should be viewed from many angles. When you hold a baseball, shoe, or small sculpture, you are aware of their curves, angles, indentations, extensions, and edges of their forms.

Shape

An area that stands out from the space next to it or around it because of a defined or implied boundary, or because of differences of value, colour, or texture. Shape: geometric and organic shapes; positive and negative shapes; abstract shapes; and outlined shapes. Shape is an area that is contained within an implied line, or is seen and identified because of color or value changes. Shapes have two dimensions, length and width, and can be geometric or free-form. Design in painting is basically the planned arrangement of shapes in a work of art.

Line

The path of a moving point, that is, a mark made by a tool or instrument as it is drawn across a surface. A line is usually made visible by the fact that it contrasts in value with the surface on which it is drawn. It has length and width, but its width is very tiny compared to its length, and often suggests movement in a drawing or painting.

Shade

The darker value on the surface of an object that gives the illusion that a portion of it is turned away from the source of light.

Perspective

Any graphic system used to create the illusion of three-dimensional images and/or spatial relationships on a two-dimensional surface. There are several types of perspective (linear, atmospheric, and projection system).

Isometric

A mechanical drawing system in which a three dimensional object is presented two-dimensionally; starting with the nearest vertical edge, the horizontal edges of the object are drawn at a thirty-degree angle and all verticals are projected perpendicularly from a horizontal base.

Horizon line

The line in a perspective drawing where the sky meets the ground. A drawing inside a room has an eye level line. The placement of the line on the picture plane depends on the vantage point of the artist. If the artist is low to the ground, the Horizon Line is low on the picture plane an so on.

Tria markers

A tria marker matches a specific Pantone color and has three different polyester nib styles to create with: broad, fine, and ultra-fine.

Vanishing point

In linear perspective, a point at an infinate distance on the Horizon Line at which any two or more lines that represent parallel lines will converge. This principle is based on an optical illusion best illustrated by railroad tracks that appear to converge on the Horizon.

Foreshortening

A drafting illusion in which, depending on the viewer's point of view, an object, or part of an object is distorted to imply the compacting of space.

Ground plane

The Ground Plane is at 90 degrees to the picture plane. (the picture plane is the flat two-dimensional surface on which we draw or project an image in perspective)

Economy of line

To capture the essence of an idea in just a few strokes of the pen. Cartoons are an example of drawing with great economy of line.

Isometric ellipse

The distance across the largest dimension is known as the major axis. This axis would be used to find the outside of a cylinder. The distance across the smallest dimension is known as the minor axis. This axis doubles as the isometric thrust line or the line along which parts would explode.

Isometric grid

A network of evenly spaced lines drawn at 30, 90, and 120 degrees. Paper preprinted with this grid is used to sketch isometric drawings.

Web Studio 01 - Lesson 09

DEFINITION OF TERMS


GIF

GIF (Graphics Interchange Format) is an 8-bit-per-pixel bitmap image format and has come into widespread usage on the World Wide Web due to its wide support and portability.

The format uses a palette of up to 256 distinct colors from the 24-bit RGB color space. It also supports animations and allows a separate palette of 256 colors for each frame. The color limitation makes the GIF format unsuitable for reproducing color photographs and other images with continuous color, but it is well-suited for more simple images such as graphics or logos with solid areas of color.

GIF images are compressed using the LZW lossless data compression technique to reduce the file size without degrading the visual quality.

JPEG

In computing, JPEG is a commonly used standard method of compression for photographic images. The name JPEG stands for Joint Photographic Experts Group.

JPEG is the format most used for storing and transmitting photographs on the World Wide Web. For this application, it is preferred to formats such as GIF, which has a limit of 256 distinct colors that is insufficient for color photographs, and PNG, which produces much larger image files for this type of image. The compression algorithm is not as well suited for line drawings and other textual or iconic graphics, and thus the PNG and GIF formats are preferred for these types of images.

TABLE

Grids and rows and columns that can either be used to hold tabular data on a Web page or as a basic design tool for page layout.

CELL

Small boxes within a table that are used to hold text or images. Cells are arranged horizontally in rows and vertically in columns.

CSS

Cascading Style Sheets. A file used to assign sets of common formatting characteristics to page elements such as text, objects and tables.

FTP

Stands for File Transfer Protocol, the process for uploading and down loading files to and from a remote site.

ROOT

Root is the name of a folder that holds all the files and folders for a Web site.

ASSETS

Files that are not Web pages, such as images, audio files and video clips.

OBJECTS

Web page content such as tables, images, forms and layers.

BEHAVIOUR

A behavior is a combination of an event with an action triggered by that event. In the Behaviors panel, you add a behavior to a page by specifying an action and then specifying the event that triggers that action. For example, if you want a Web page to open in a new browser window when your user clicks a link, you can use a behavior to achieve this effect.

ABSOLUTE URL

A path containing an external link that references a link on a Web page, and includes the protocol "http", and the URL, or address of the Web page.

RELATIVE URL

A path used with an internal link to reference a Web page or image file within the Web site.

TEMPLATE

A web page that contains the basic layout for similar pages in a Web site.

EXTENSION

Is an acronym such as .html, that describes the language used to create the web page.

NAVIGATION

A set of text or image links that browsers use to navigate among the pages of a Web site.

HOTSPOT

A clickable area on an image that, when clicked, links to different location on the page, or to another Web page.

IMAGE MAP

An image that has a clickable areas defined that, when clicked, serve as a link that will take the viewer to another location.

DIRECTORY

A list of files and folders that contain Web pages and other items that make up the Web site.



References: Adobe, Wikipedia & Sherry Bishop's MacroMedia Dreamweaver 8.

Promotional Design Project - Stage 02

Abstract:
Animation: can it facilitate?
Source: International Journal of Human-Computer Studies

Graphics have been used since ancient times to portray things that are inherently spatiovisual, like maps and building plans. More recently, graphics have been used to portray things that are metaphorically spatiovisual, like graphs and organizational charts. The assumption is that graphics can facilitate comprehension, learning, memory, communication and inference. Assumptions aside, research on static graphics has shown that only carefully designed and appropriate graphics prove to be beneficial for conveying complex systems. Effective graphics conform to the Congruence Principle according to which the content and format of the graphic should correspond to the content and format of the concepts to be conveyed. From this, it follows that animated graphics should be effective in portraying change over time. Yet the research on the efficacy of animated over static graphics is not encouraging. In cases where animated graphics seem superior to static ones, scrutiny reveals lack of equivalence between animated and static graphics in content or procedures; the animated graphics convey more information or involve interactivity. Animations of events may be ineffective because animations violate the second principle of good graphics, the Apprehension Principle, according to which graphics should be accurately perceived and appropriately conceived. Animations are often too complex or too fast to be accurately perceived. Moreover, many continuous events are conceived of as sequences of discrete steps. Judicious use of interactivity may overcome both these disadvantages. Animations may be more effective than comparable static graphics in situations other than conveying complex systems, for example, for real time reorientations in time and space.


Abstract:
Quantitative Graphics in Newspapers

The use of quantitative graphics in newspapers requires achieving a balance between being accurate and getting the attention of the reader. The statistical representations in newspapers are drawn by graphic designers whose key technique is fusion--the striking combination of two visual images. This technique often results in visual puns, personifications, and other visual figures of speech. However, when the aim of statistical information is communication, these fusions may be inaccurate and confusing. A study of samples from newspapers revealed 10 common pitfalls in using graphs to display quantitative information: (1) the tilted graph--the perspective is altered so that comparison is difficult; (2) the stacked graph--elements to be compared are stacked on top of one another; (3) the pseudo graph--illustrations in the form of graphs that are not graphs at all; (4) the graph with little or no variation--comparisons have no real meaning in these graphs; (5) the convention-violating graph--the logical rules of graph reading are ignored and confusing images are produced; for example, the growing federal deficit depicted by a deepening hole; (6) the bar graph with obscure bar ends--pictures used for bars have imprecise bar ends; (7) the buried line graph--the line that makes the meaningful part of the graph is hidden in a picture; (8) the three-dimensional graph--added perspectives add no information; (9) the overly complex graph--by presenting everything, they emphasize nothing; and (10) the multiple pie chart--comparing slices of two different pies is difficult. (Examples from newspapers illustrating the ten pitfalls are appended.) (SRT)

Paper presented at the Annual Meeting of the Association for Education in Journalism and Mass Communication (69th, Norman, OK, August 3-6, 1986).

http://www.watercorporation.com.au/education/index_funstuff.cfm

http://www.yvw.com.au/waterschool/juniors.html

http://ga.water.usgs.gov/edu/sq3.html

http://ga.water.usgs.gov/edu/sc4.html

http://www.sydneywater.com.au/SavingWater/interactiveHouse/

http://www.myinternet.com.au/edu/water_year/survey_pr.htm#water_ques

http://www.sydneywater.com.au/EnsuringTheFuture/WaterSchool/WaterSaverChallenge.html

http://www.epa.qld.gov.au/images/environmental_management/water/waterwise/clipboard.gif&imgrefurl=http://www.epa.qld.gov.au/environmental_management/water/waterwise_toolbox/home_waterwise_test/&h=137&w=200&sz=8&hl=en&start=818&um=1&tbnid=07qCkyCjC7p5MM:&tbnh=71&tbnw=104&prev=/images%3Fq%3Dwater%2Bsaving%26start%3D810%26ndsp%3D18%26svnum%3D10%26um%3D1%26hl%3Den%26sa%3DN

http://images.google.com.au/imgres?imgurl=http://www.geocities.com/ljacoby_2000/meg.jpg&imgrefurl=http://www.geocities.com/ljacoby_2000/news.html&h=224&w=168&sz=11&hl=en&start=685&um=1&tbnid=H4dAnFjKgm6GvM:&tbnh=108&tbnw=81&prev=/images%3Fq%3Dwater%2Bsaving%26start%3D684%26ndsp%3D18%26svnum%3D10%26um%3D1%26hl%3Den%26sa%3DN

AGIDEAS 2007 Assignment

Nigel Swinn (Enterprise IG)
Nigel Swinn (DesignWorks)

Head of DesignWorks, Enterprise IGs strategic services, Nigel works as a brand consultant to a number of Australian and New Zealand businesses working closely with the senior executives of companies as diverse as Westpac and Tabcorp to Camp Quality and Wesley Mission.

Previously a marketing manager at Tourism New Zealand, Nigel has facilitated business and design strategies for large and small brands, ranging from corporates such as AGL and Rio Tinto to small and entrepreneurial brands like the award-winning BEE eco products range, the Cape York Indigenous Enterprise community and Taronga Zoo.




Mike Staniford (Landor)

As Executive Creative Director of Landor Sydney, Mike is responsible for establishing and maintaining the overall creative vision of the company.

Mikes career began in London, working with several small design companies before starting his own business. He successfully ran his consultancy for 12 years until 1994, when he was approached by a well-established design firm in Sydney to be their creative director. The firm grew and was acquired by Landor Associates, the worlds pre-eminent design and branding agency, with offices in 22 cities around the world.

Mikes strengths include a thorough understanding of consumer and corporate branding, with its implications and advantages to marketers, combined with a unique design flair. He has created branding programmes for Nescaf, Fuji Xerox, Diageo, The Australian Stock Exchange and Mirvac.

Working closely with clients, he seeks to bring a new perspective to the business of branding, and believes that design is pivotal in bringing brand and organisational strategy to life in a powerful and compelling manner. His experience is multi-disciplinary and includes environments as well as corporate and packaging.

Mike now travels extensively across Asia with his work. He is fascinated by the rise of the Chinese economy and the human endeavour that exists on every street corner from Jakarta to Seoul, Hong Kong to Tokyo.

He has won numerous design awards around the world, including the prestigious Clio Awards in New York.




Paula Scher (Pentagram)


For over three decades Paula Scher has been at the forefront of graphic design Iconic, smart and unabashedly populist, her images have entered into the American vernacular.

Scher has been a principal in the New York office of the distinguished international design consultancy Pentagram since 1991. She began her career as an art director in the 1970s and early 80s, when her eclectic approach to typography became highly influential. In the mid-1990s her landmark identity for The Public Theater fused high and low into a wholly new symbology for cultural institutions, and her recent architectural collaborations have re-imagined the urban landscape as a dynamic environment of dimensional graphic design. Her graphic identities for Citibank and Tiffany & Co have become case studies for the contemporary regeneration of classic American brands.

Scher has developed identity and branding systems, promotional materials, environmental graphics, packaging and publication designs for a broad range of clients that includes, among others, Bloomberg, Coca-Cola, Jazz at Lincoln Center, the Metropolitan Opera, the New York Botanical Garden, and The Daily Show With Jon Stewart.

During the course of her career, Scher has been the recipient of hundreds of industry honors and awards, including the AIGA Medal in 2001 and the Type Directors Club Medal in 2006. She is a member of the Alliance Graphique Internationale. Her work is represented in the permanent collections of the Museum of Modern Art and the Cooper-Hewitt National Design Museum, New York; the Library of Congress, Washington, DC; the Museum fr Gestaltung, Zrich; the Denver Art Museum; and the Centre Georges Pompidou, Paris.

Scher has authored numerous articles on design-related subjects for the AIGA Journal of Graphic Design, Print, Graphis, and other publications, and in 2002 Princeton Architectural Press published her career monograph, Make It Bigger.

References:
www.enterpriseig.com/
www.designworks.com.au/
www.landor.com/
www.agideas.net/2007

Day one:

Paul Davies:
Interesting apporach - professional speaker - well rehearsed and targetted - bit glib at times: too many things like 'in Brazil or New York' or I sold this for 500 quid why? - good work anyway

Glue Society:
Didn't really understand no clients only projects deal? Interesting approach, but a stunted presentation

Tim Kanda - not sure how his presentation fits in the scheme of things, maybe appeasement - and what about this remark: "to design you have to be creative"???

Material by Product: obviously very clever stuff - bit over my head and again wondering if the organisers are covering too many disciplines.

David Dare Parker - same again good stuff , but not sure how this fits in with pulling rabbits out of hats.

Nick Rennie - did not like - his why am i here attitude and hurried presentation and internal mumblings - not impressed.

Soundfirm - glossy presentation. entertaining - but to much reliance only lengthy film clips and little practical examples.

Steve Stamatiadis - difficult to understand at times - thought he missed golden opportunity to present himself in the way of a game - instead got a boring powerpoint display.

Daviv Tartakover - grear work, but way way too much stuff presented - also difficult to tune in to his politial passion when not familiar with his world. Liked his 'hands on' approach - photocopying of coloured paper (maybe work a bit repetetive).

John Thompson - brilliant, no glibness here - a true craftsman and good stuff about career ups and downs.

Wooden Toy - not my cup of tea - but like their graphic style

Imaginary Forces - polished presentation, ummmm I thought again too much emphasis on video clips and not enough on how the end result was achieved - would have liked to seen one/two projects , more behind rthe scenes stuff and and rejected stuff.

Massey Uni - a bit of cultural cringe here?

Design for Web Week 06

Project Seven
Style Gala
CSS Beauty
CSS Zen Garden
Position is Everything
The Layout Reservoir
CSS Two
Stylesheets
Max Design
CSS Layout Techniques
CSS Drive
CSS from the Group Up
Project Seven Tutorials

Promotional Design Project 03 - Stage 01

Follow-up email to Melbourne Water

Hi, below is copy of an email I sent about two weeks ago. I appreciate your feedback as I'm to present my proposal shortly. If Melbourne Water is not able to assist me, can you make suggestions of any other organisations that may be able to help.

Kind regards,


Additional Reference Sites:
Apple for the Teacher
City West Water

Drawing Techniques - Cubism

The very name Cubism came from this Braque painting 'House at L'Estaque'. When the critic Vauxcelles saw the painting he said the houses "look like a bunch of little cubes." He meant the comment to be insulting but the name Cubism stuck.

Georges Braque - House at L'Estaque 1908

But in reality cubism was born of two parents: primitive art and Cezanne.

Paul Cezanne - Rocky Landscape 1903

The movement went from 1907 to 1920's and began in Paris, France. It soon became one of the most influentional arts of all time. Famous cubist painters included Pablo Picasso and Juan Gris of Spain and Georges Braque, Paul Cezanne, Robert Delaunay, Fernand Leger, Albert Gleizes, Francis Picabia, Marcel Duchamp and Roger de la Fresnage of France.
There were three basic types of cubism; primitive cubism, analytical cubism and synthetic cubism.

PRIMITIVE CUBISM

Primitive cubism began in 1907 and went until 1908.
The painting D'Avignon Young Ladies by Pablo Picasso painted in 1907, really kicked off the cubist movement.

Pablo Picasso - Les Demoiselles d'Avignon 1907

Paul Cezanne's doctrine of cubism during this time defined what cubism was made of. "Every thing in nature takes it's form from the sphere, cone or cylinder." This quote was the basis of painting for seven years. Paul Cezanne's influence was most noted in Georges Braque's work Road near L'Estaque.

The Vase, Bowl, Lemon by Picasso in 1907 is another example.

Pablo Picasso - The Vase, Bowl, Lemon 1907

ANALYTICAL CUBISM

Analytical cubism went from approximately 1908 to 1912.
In this period, cubists explored the pure form of subjects. To do this, the artists mentally broke the subject into flat planes and arranged them in complex, overlapping relationships. Artists used only grays, browns, dark greens, ochre, dark yellows and monochrome in the works to maintain an emotionless scene. Picasso's Ma Jolie from 1912 is a classic example of this technique.

Pablo Picasso - Ma jolie 1912


SYNTHETIC CUBISM

Synthetic cubism began in 1912 through the 1920's.

During this time, artists felt freer to use more colors.The pictures were more realistic looking but still were based on geometric shapes. Artists instead, showed many view that would not be possible in real life. Yellows, reds, greens and other bright colors were being used. Artsits like Fernand Leger really came out.

Fernand Leger - Life with a beer mug 1921


Fernand Leger - Three women 1921

Geometric objects were being mixed with regular forms in bright colors. The Guitar by Juan Gris painted in 1913 is a good example of this mix.

Juan Gris - The Guitar 1913

Other examples of synthetic cubism


Robert Delaunay - The Red Tower 1911


Pablo Picasso - Harlequin with Violin 1918

A simpe example of cubist drawing technique.


Reference sites and images:
http://www.angelfire.com/co/artgeometry/
http://www.artchive.com/artchive/B/braque/housesle.jpg.html
http://www.dartmouth.edu/~matc/math5.geometry/unit16/unit16.html#Cubism

Promotional Design Project - Stage 01

8 March 2007

THE CONCEPT:

To quantify use or mis-use of water in an average household, and looking at practical solutions to save water.

TARGET AUDIENCE:

Not yet defined - Primary School level, possible between years 3-5.

GAME OUTLINE:
The aim of game would be that by quantifying personal water use the children take ownership of the water shortage problem, and rather than thinking that they are powerless to do anything they can actively contribute to save water.

For instance.... how much water do you waste if you leave the tap running when you brush your teeth.... and, how much would that be if the whole family did the same, and what if every family in the school did the same.... and so on. No doubt there are many other examples that can be used!


ACTION:

Email to Melbourne Water - 8 March 2007

Hi Melbourne Water,

I got this email address from your website, and I was hoping you may be able to assist me with my project.

I'm a student at Box Hill TAFE currently studying for an Advanced Diploma in Multimedia. One of our projects over the course of this year will be to develop a computer based educational interactive game, and it's target audience will be primary school students.

We have been asked to develop an idea for a game, and I thought that as water usage, and/or misuse, is a much debated topic at the moment, it would be a great idea to create a game to help students to quantify their use of water.

For instance.... how much water do you waste if you leave the tap running when you brush your teeth.... and, how much would that be if the whole family did the same, and what if every family in the school did the same.... and so on. No doubt there are many other examples that can be used.

The aim of game would be that by quantifying personal water use the children may take ownership of the water shortage problem, and rather than thinking that they are powerless to do anything they can actively contribute to save water, and who knows, maybe they could even educate their parents!

I need help with my research, and I was wondering that if the project got underway Melbourne Water would be able to supply facts and figures on water usage, and assist with other materials that may be incorporated in the project. Of course any materials that you would supply will be appropriately acknowledged, and will be used with the understanding that it is a for student project only.

I'm very keen to develop this idea, and I look forward to hearing from you.


Kind regards,



Hans Eijdenberg


NEXT STEPS

Contact additional local water utilities to provide quantitative
information on water usage, and perhaps get them involved in the project

Conduct research into the perceived target audience's education level in relation to understanding of maths and language.

Research Reference Sites

Victorian Curriculum and Assessment Authority
Human Computer Interaction Lab
Kindergarten Educational Software
Squigly Playhouse
Fun School Kaboose
SuperKids
South East Water


These reference site were collected as part of a group brainstorming session on how and where to find relevant reference material!

Photo reference: http://www.pulsephotonics.com/gallery/originals/Water%20-%20transparent.jpeg

Video Studio 03 - Lighting Requirements

LIGHT COLOURS:

Sunlight: Blue
Fluorescent: Green
Purpose lights: Yellow
Tungsten: Orange
Daylight: Blue

TYPES OF LIGHTING EQUIPMENT

There are two types of light that can be used on the scene - practical lights: i.e lamps on scene, or purpose lights.

Purpose lights:

These are often referred to as Red Head or Blondie lights.


The lamps can be set into three positions, and the reflector can be adjusted from the rear to widen (flood) or narrow (spot) the beam of the light. The lights are usually equipped with barn doors - a device fitted on the front of the device which has two big doors, plus two little doors to block the edge of the light's beam.

Safety Issues:
Purpose lights will get very hot, and due care should be taken to avoid accidents, including burns and/or fire. It is good practice to loop the cable through the legs of the stand, avoiding possible toppling of the light. The use of shot bags is also recommended.

CABLING

Ensure cabling is not coiled to avoid heat build-up, and possible interference to audio cabling, caused by higher induction levels. After the shoot the cabling should be coiled correctly to avoid knots, and to allow for speedy uncoiling the next time the cable is used.


THREE POINT LIGHTING

Three point lighting consists out of back, key and fill lights. The back and key lights are usually hard focussed, and will cut a sharp shadow, whereas the fill light will be soft focussed. As the name infers, the back light is placed behind the subject - the fill light is placed closely behind the camera, and the key light is set at an 45° angle from the camera and subject.

The set-up order is as follows:
1. do close-up focus of subject - ensure camera is set a appropriate height - usually level with subject.
2. turn off all other lights
3. set up back light
4. set up key light with back light switched off
5. set up fill light with back and key lights switched on


THE FOUR 'F's

FILTER

F-STOP

Reference from Photos by Richard Website:

'A number that indicates the size of the lens opening. Some common f-stops on 35mm cameras are f2, f2.8, f4, f5.6, f8, f11, f16. The larger the f-stop, the smaller the lens opening, f16 is the smallest in the above series. Smaller openings (like f16) have greater depth of field.'







website: http://www.photosbyrichard.ca/glossary.php
photo reference: http://en.wikipedia.org/wiki/F-number

FOCUS

History:

Reference: Wikipedia

The camera obscura (Lat. dark chamber) was an optical device used in drawing, and one of the ancestral threads leading to the invention of photography. Photographic devices today are still known as "cameras".

The principle of the camera obscura can be demonstrated with a rudimentary type, just a box (which may be room-size) with a hole in one side, (see pinhole camera for construction details). Light from only one part of a scene will pass through the hole and strike a specific part of the back wall. The projection is made on paper on which an artist can then copy the image. The advantage of this technique is that the perspective is right, thus greatly increasing the realism of the image (correct perspective in drawing can also be achieved by looking through a wire mesh and copying the view onto a canvas with a corresponding grid on it).
With this simple do-it-yourself apparatus, the image is always upside-down. By using mirrors, as in the 18th century overhead version illustrated in the Discovery and Origins section, it is also possible to project a right-side-up image. Another more portable type, is a box with an angled mirror projecting onto tracing paper placed on the glass top, the image upright as viewed from the back.

website: http://en.wikipedia.org/wiki/Camera_obscura
photo reference: http://en.wikipedia.org/wiki/Camera_obscura


The Iris is the mechanism that controls the aperture opening in the camera lens. Aperature size is measured in f-stops.

References from Shuttermap:

'Aperture – A small circular opening in a camera lens through which light passes to expose the film (or camera sensor in digital cameras). The size of the aperture can be changed to create different exposures. The aperture diameter is expressed in f-stops - the lower the number, the larger the aperture, which means a longer exposure on the film. For example, an f-stop of 2.8 (large aperture) would mean that the film is exposed to more light as opposed to an f-stop of 11 (small aperture). So if the sun is shining brightly, a higher f-stop is needed to create the right exposure.'










photo reference: http://en.wikipedia.org/wiki/Aperture



'Depth of field


The amount of distance between the nearest and farthest objects that appear in acceptably sharp focus in a photograph. Depth of field depends on the size of the aperture, the distance of the camera from the subject, and the focal length of the lens. The bigger the aperture, the greater the depth of field. If the camera focuses on a distant subject, the depth of field will be greater than if it was focused on a near subject; and if you fit a wide-angle lens to your camera, it will give you greater depth of field than a normal lens.'

photo reference: http://www.cambridgeincolour.com/tutorials/depth-of-field.htm


'Shutter speed – The length of time the shutter remains open to let light pass through the lens to strike the image sensor/film. The slower the shutter speed, the longer the exposure time. A shutter speed set at 1/60 or simply 60 means that the shutter will be open for exactly 1/60th of one second. A shot taken at night (low lighting conditions) would require a slower shutter speed to expose the film. Faster shutter speeds are good for action sequences, as it freezes the subject in motion.'

web site: http://shuttermap.com/article-5.html


FRAMING & RULE OF THIRDS

Framing:

Framing matrix: 4:3 & 16:9

Take care not to frame through joints (elbows, wrist, knees/

Rule of Thirds:

Reference from Wikepedia Web Site:

'The rule of thirds is a compositional rule of thumb in photography.

The rule states that an image can be divided into nine equal parts by two equally-spaced horizontal lines and two equally-spaced vertical lines. The four points formed by the intersections of these lines can be used to align features in the photograph. Proponents of this technique claim that aligning a photograph with these points creates more tension, energy and interest in the photo than simply centering the feature would.

The photograph below demonstrates the application of the rule of thirds. The horizon sits at the horizontal line dividing the lower third of the photo from the upper two-thirds. The tree sits at the intersection of two lines, sometimes called a power point. Points of interest in the photo don't have to actually touch one of these lines to take advantage of the rule of thirds. For example, the brightest part of the sky near the horizon where the sun recently set does not fall directly on one of the lines, but does fall near the intersection of two of the lines, close enough to take advantage of the rule.



The application of the rule of thirds to photographs is considered by many to make them more aesthetically pleasing and professional-looking. The rule of thirds can be applied by lining up subjects with the guiding lines, placing the horizon on the top or bottom line instead of the center, or allowing linear features in the photograph to flow from section to section. In addition, many photographers recommend treating any "rule" of composition as more of a guideline, since pleasing photographs can often be made while ignoring one or more such rules.'

web site: http://en.wikipedia.org/wiki/Rule_of_thirds

Aurora Australis photo reference: www.teara.govt.nz/. ../Standard/3/en

Digitising Sound 02 - Foley Sound Reference

http://www.marblehead.net/foley/specifics.html
http://en.wikipedia.org/wiki/Foley_artist
http://www.newtonsapple.tv/TeacherGuide.php?id=1300
http://sfx.davelab.com/
http://www.old-time.com/sfx.html
http://www.radiohour.wrek.org/links/uscolosfx.html
http://www.whitsend.org/littletheatre/soundeffects.cfm

Digitising Sound 01 - Q & A

1. What is meant by the term Analogue sound?

Analogue is a variable signal continuous in both time and amplitude
in contrast with digital, which breaks everything into numbers. For instance, telephones turn voice vibrations into electrical vibrations of the same shape.

2. At its simplest form sound is ------------Vibration, Amplitude (choose one)

Vibration

3. Describe the concept of streaming sound?

Streaming sound is sound that is played as it arrives. The alternative is a sound recording (such as a WAV file) that doesn't start playing until the entire file has arrived. Support for streaming sound may require a plug-in player or come with the browser. Leading providers of streaming sound include Progressive Networks' RealAudio and Macromedia's Shockwave for Director (which includes an animation player as well)

4. What is meant by the term Foley?

Machine used to generate sound effects for movies, the effects nowadays usually prerecorded or electronically synthesized but originally created using mechanical noise making devices such as springs, flapping cards, beaters on wood blocks and cloth, etc. Named after Jack Donovan Foley (1891-1967) who pioneered the art of adding sound effects to movie soundtracks.

5. What are event sounds in Flash?

Event sounds must download completely before they start playing and they will continue playing until explicitly stopped (usually by a stop action). Event sounds are associated with an event such as a mouse click, and are independent of the Timeline.


6. What is meant by AIFF?

Audio interchange file format. A common Macintosh audio file format. It can be mono or stereo, at sampling rates up to 48kHz. AIFF files are QuickTime compatible. The format was co-developed by Apple Computer based on Electronic Arts Interchange File Format (IFF) and is most commonly used on Apple Macintosh computer systems