Wednesday, September 28, 2011

Product: find+share


The baby wipes are playing on emotion. Thus, its mode of appeal is functioning as pathos. The image of the sleeping baby makes the consumer feel like the product caters to parents that want nothing more for their child than to be clean, comfortable, and calm. Its such a "sweet" and "cute" image. I mean most infant products play up the idea of the children being imagery on the package to pull at the strings of parents. They usually involve a baby or baby and parent showing some kind of emotion. The package material itself is a satin finished wrapper that is soft to the touch reinforcing sensitivity. The colors are cool and calming. The different kind of packaging made this product stand out. Also the level of quality in production made it pop on the shelf. A consumer said that the cool colors and "precious" picture stood out in her mind. The package evoked emotions that would persuade her to buy it for her child. When veiwing it, the front of the package is assesed and then put back down. I guess it has all the main info the viewer wants right on the front. The rounded edges make part of the side blend in as the front.


The product is functioning on the mode of appeal, Logos. Its stripped of all emotion and isn't trying to acquire the viewers trust. It is stating the factual information of the paper. Recycled, 20 lb, 92 bright, 500 sheets. As for the imagery I don't think it is functioning as anything other than a reinforcement of ecology but does not move or persuade me, therefore leaving me at the conclusion of logos. I personally picked this out of the crowd because of the clear, bolded information and bright color choice. It was a lot less busy than the other packages making it feel more refined in design. While observing the consumer, the first thing they seemed to look at was the information located at the bottom right corner. (the lb, brightness, & quantity) When interviewing a potential consumer after a short viewing of the product, it was stated that the thing that he remembered most was that it was recycled paper and 20 lb. The thing that jumped out at him were the bold numbers and bright green color. The imagery of the plant faded in memory. The package was handled by reviewing the front and then flipping it to see the bottom short edge where most info is on paper packaging.


Paula Deen Dressing. This is definitely Ethos. Paula Deen, the popular tv show cook, is endorsing her own line of salad dressings. The consumer is either going to love it because of her name or be leery because of her name. Regardless, the fact that she has a cooking show makes the consumer feel a sense of credibility. If you are into Paula Deen, you'll be into this sauce is basically how it communicates to me. In the setting of the store, the product stood out because of the large image of Paula but in color scheme sort of blended in. Once it was notice though, it was hard to look away. The rich colors and clean typography made it appealing. The bottle said a lot too. A glass bottle always feels more substancial than a plastic one. To me it gives connotations of quality, health, and good taste. When interviewing an everyday consumer he said his initial thought was "cheesy." She was the one thing that stuck out in his head when reflecting on the packaging. He could hardly remember what the product was exactly but he knew that because of her it was something to do with cooking. The color green made him vaguely remember that it was olive oil dressing. Obviously this is ethos if the image of the spokesperson is overpowering content. The bottle was handled by rotation. The viewer looked at the front label and then spun to the right.(probably because we westerners read that way) This made the nutrition facts the last thing to be taken in.

Monday, September 26, 2011

Billboard direction

This is the the iteration that I will be framing my billboard around. Refined iterations coming soon

Folly: Final_Revisions & Billboards

FINAL POSTER (revisions made)






Based on feedback from my professors and the Folly folks, I made a few changes to the poster. The main Criticism was that the imagery was leaning too far to the right. There needed to be some more breathing room on the right side. So I took everything and kicked it to the left and refined some imagery resolution. I tried to give the billboards some variation in composition but still tried to maintain a level of cohesion to create an identity for the show. Same type, different lockups. Same imagery, different placement. Overall the same feel. I didnt know if it was appropriate but in some of the iterations I changed the color of the folly logo to tie in better with the composition.

Sunday, September 25, 2011

Friday, September 23, 2011

Tender Buttons : Final

The selection of poems is based entirely around the section, objects, from Gertrude Stein's Tender Buttons. The curation of the poems is base on the rhythm of language used in Stein's writing style. It can be explained as a stream of consciousness or thought. A train of thought carries and inherent rhythm. That rhythm is visually represented through the contrast of the form. From a distance the language turns to grey, functioning as pools of rhythm. The thought in functionality is that the viewer not only experiences the poems at once by putting them together but is also drawn in to the small typography, forcing them to bring it closer to understand it. The breaking up of the litterature into rhythmic proportions reinforces her ideas of cubism, fragmentation, and of course Rhythm and sound.

Final Poster: Mark O'Connor

So this is what I ended up with for the Folly judging on Wednesday. The collage represents not only the instruments that will be played at the show, but is also reminiscent of Mark's multi-talent, and how he pulls from multiple genres to make his own sound. The amalgamation of typography (univers, neutraface, serifa) Hints at the same idea of multiple genres and sounds as well as making the poster relatable to multiple audiences. I felt that the condensed sans serif would appeal to a younger crowd while the serifed type gives the feeling of approachability and age. The color palette is an americana christmas. This is a holiday show. I didnt want to take an obvious color palette and scream christmas. I wanted it to be a subtle hint. The dulled colors relate more towards Mark OConnor and give a mood of his sound.

Tuesday, September 20, 2011

Coming Soon

footage shot by patrick drake.
Additional imagery: ivan alonso
Edited by ivan alonso.
Camera: iphone hd.
Software: after effects.
Area ridden out: rockhill neighborhood

Monday, September 19, 2011

Final: Tender Buttons

The idea behind these videos at the most basic level is to convey a stream of consciousness, or thought. When reading Gertrude Steins work, I realized that initially they make no sense, or very little as a whole. If you were to break down the poems or fragment them into little phrases, there are moments that can be understood with out the context of the poem or experience she is writing about. This allows for the opportunity of creating contrast in my spreads. I've explained it as pools of thought and rhythm contrasted by moments of structure and clarity. Translating this into motion graphics and film, I had room for variation formally that could not be done in print. So the main thing is I am moving static composition into a temporal realm of movement. Now there is contrast and hierarchy set up by time. Time is one thing I wanted to exploit. It allowed me to reference the same ideas and material in a new way. In motion there is an opportunity to guide the viewer more than in a book. In my "book" for type3 the text is fragmented into little pools of rhythm that function on a grey level from the ideal viewing distance. This is how im hitting at the idea of ambiguity and confusion/non clarity. In video I was able to exploit the lens. Specifically the depth of field. By doing this, there is a play, a push and pull between focus and unfocused text. Another way that I forced the idea of non clarity is by speeding up certain parts of the video, making the text hard to navigate and digest. Although the project is finished and moved passed its final crit, I plan on taking this back into after effects and adding the original imagery in the passed videos and playing more with text in space.

Friday, September 16, 2011

Tender Buttons: full mock up #1

"gut check time." —kidwell
Well we checked my gut. I think its going to be okay but I definitely need to take some time and step back and realize what I am truly trying to say with Gertrude Steins work. I think on some level I know but when explaining it comes out as mush. There are perhaps too many concepts being shown formally all at once. Although they all work with her text, they may not meld together well enough to solidify the concept. Counter-production? maybe . . . who knows. At an atomic level this is supposed to be about clarity and non clarity. How do I reformat this to make sense, drop the excess, and move forward with a solid idea executing it formally in a solid, communicative way? this is what i am asking myself these next few hours

Wednesday, September 14, 2011

Folly: formal explorations #2

I moved forward with two directions for critique today. The musical collage, and the musical crossroads. The signs are a play between vector and hand illustration. The formal qualities are rustic yet refined like Mark Oconnors Sound. The vector is the precision and the hand illustration and texture is the approachability and rustic. I havent yet decided if i want to fully embrace the holiday color palette or subtly hint at it, or all together throw it out. I do think it will be important to communicate to the potential audience that this is infact a christmas show. Who wants to show up to a bluegrass hot swing, but get a classical americana christmas. I think it will be of great importance for me to let the viewers know whats going on. After critique I decided that the photographic collaging is the best direction. Not only is it more appropriate in formal rendering, it has a better feel of Mark O'Connor. Right now my typography is all over the place. Thats numero uno in moving forward. I plan on locking it in somewhere. Finding a place to align everything will tie the type to image.

Monday, September 12, 2011

Folly: formal explorations #1

moving forward with the three concepts pulled from the matrix, I have began iterating the concepts formally.

Sunday, September 11, 2011

experiment 2: tender buttons


There are a few parts that are way longer than i expected. the first part "dirt" last about twice as long as id like it too. And the end needs finessing. I am posting this hoping to get feed back not only formally and conceptually but to also know if i am backing off the line of imagery. Last class I pushed the boundaries of imagery, and hopefully this time, the images function more as background and supporting information rather than overpowering the text.