7 Deadly Sins: phase 1

the direction I want to take these is similar to the first photograph. The figures should be in more natrualistic or plausible poses. they feel like they are modeling objects instead of possessing them

Evolution of an icon

only the major steps are shown in this evolution set. This is the general amount of progress through out my icon set growth. Some icons evolved more and changed completely while others barely changed at all. The two extremes in evolution would be the fortune teller and the strongman. The fortune teller has evolved tons. Iteration after iteration. The strongman has basically stayed the same since the beginning and was infact the key, or template, used to make the other icons. The simese twin was chosen as the example for evolution simply because it was the average amount of progression. Most of the icons took about 5 major steps in form and concept.

Final Icon Set

The final icon set has a few adjustments from last critique. I swapped out some compositions and did a lot of formal refinement to the set as a whole. To increase continuity and cohesion, the frames were all based off of one shape. Although they are based around the template I set, each has slight variation making each frame unique. All of the icons are now full body shots. They employ the same principles as the previous set. Principles such as breaking the frame at least once (usually with the feet), rounded edges, and the fun-house mirror aesthetic. The combination of these allowed me to capture a feeling of oddity, showcase, and drama. All of the formal decisions were informed conceptually to strengthen the group as a whole. For insight into process, I started out analog with a sharpee and tracing paper. They were then scanned,  edited in photoshop (levels, gaussian blurr, and contrast), then traced and tweeked in illustrator with the pen tool.

Framing the Campaign: Final Stages

Concept:

Graphic design has been a vessel for change in our culture. It has allowed individuals to make statements that stimulate reformation. Design is about making a difference.

Campaign:

The campaign consist of three billboards, three bus-wraps, and one interstitial. In the billboards I set up the rules for the visual campaign. Things like marrying up the KCPT logo and the web address in the shape repeated throughout the campaign. The shape I am referring to was once a band or rectangle. It is now an off kilter polygon that creates tension between the letterforms and the box. The tension created reinforces the idea of change in my concept. The careful juxtaposition of the clean uniform sans serif and the sharp strange shape gets at the idea of change and difference as well. The shape is carried out through all the interfaces in the campaign, giving the campaign the sturdy repetition it needed.

process shots