Wednesday, April 30, 2008
final project
I completed my final project with very few changes from my original idea. Everyone suggested I lose the mushroom forms so it would not have any drug connotations. I also cut out the video expression of my eye looking around. It was originally ment to be on the mushroom forms and didn't really work on anything else. I also did not use the puppet tool because it was causing destructive things to happen to my drawings that I could not get around. Overall I tihnk the passing and look/feel turned out close to how I wanted.
Revision:
I didn't change much on this version, I tightened up some of the movements and tweaked some of the timing. I opened the time graph in after effects and changed the movment to Bezaire (or however you spell it) to smoothe out the movements. Aside from a complete character redesign on the shadow mans part.
Revision:
I didn't change much on this version, I tightened up some of the movements and tweaked some of the timing. I opened the time graph in after effects and changed the movment to Bezaire (or however you spell it) to smoothe out the movements. Aside from a complete character redesign on the shadow mans part.
Wednesday, April 9, 2008
storyboards.
Here is the first shot of my story. It's from the perspective of an astreal mind wandering through some really funky reality. The reality starts off in a city, moving down a street. There are floating creatures in the sky, which does not look like how the sky should look, and giant mushrooms with eye balls grew to gigantic sizes right before your eyes. but you press on.
Here you've gone around the corner and are in a tighter back alley. Objects seem to have a life of their own and more mushrrom budlings appear when an ominous face comes into the window. AS you start to walk to the ned of the alley you are almost stopped by a beaked crab creature behind the wall.
You have the end of the city in sight and are headed for the country side. there are beasts here too, but you wait until they all walk past to start to go, but a giant mushroom eye monster appears in your path. it has wiggling tentacles and tenetalces come from off screen , completely blocking out your vision.
Tuesday, April 8, 2008
Hell-Vetica
I appreciate the history of things as much as the next guy. Especially something that has had such lasting effects in art and design, but this movie got a little long winded. Maybe it's because I'm a young American in a got to have it, got to have it now culture, but I got SO bored. That is why I'm calling this movie, HELL-VETICA!!!
In contemporary times, there are type faces everywhere. We are completely saturated with product pitches and bombarded with information. We either notice something or we don't based on how effective the pitch. Since what they want you to know is in text form, they have to choose a type face, and Helvetica is it. It's the big dog, the everywhere versatile font that is locked down tight. Many have tried to improve on it, but, supposedly it can't be done.
Massimo Vengelli said that Design fights against ugliness of visual disease, and that in Helvetica, it's the space between that really matters. In the 1950's when helvetica was first appearing, it had ALOT of ugliness to fight. It was after the war and people needed something differnt, less wordy, more streamline. Designers wanted a font that Loudly and clearly states modernism. There was a sense of social responsibility to, fix the kinks, smooth out the wrinkles, and the forefront of this idealist movement, were the uber-efficent Swiss. What kind of type would the Swiss come up with? A neutral one, naturally. Designers of the time felt a good type face should be neutral, there should be no meaning in the type face, it should be in the context of the text.
At Haas type foundry, Edward Hoffman was looking for a modern version of another kind of type, Neuo Haas Grotesque. Max Miedinger, who was a salesman at the time, was one of the key roles of the development of Helvetica. They needed a new name for the font, something to compliment its streamlined nature, and to elude to its origins. Helvetia is the latin name for Switzerland. Add a (ICA) and, wham-o, a legend is born.
This pretty much wiped all the old bad typography habits of the 1950's off the bored. The zanny hand lettered swatch typography, with muttled contrive concepts were re[placed by a Cleaner, strait forward approach, that worked.
It worked, it worked so well, infact, that corporations and government offices could not wait to adopt it. Helvetica diluted the authoritarian look of them and made them seem more acessable and open. Tax forms use it. The EPA uses it. Even Nasa uses it! American Airlines adopted it in the 50's and is the only major airline who hasn't altered their logo. Jeep, BMW, Toyota, Kawasaki, Nestle, Verizon, Target, JCPenny, ORAL B GEL FOR GODS SAKE! E-v-e-r-y-o-n-e uses it. It could work for them, and everyone else, because it invites open interpretation. All you have to do is alter the size, color, and spacing to say your unique message.
So of course it became Industry standard. It became convoluted in the eyes of the next design generation. It became the Default with no rythem or contrast in a world who needed more of those things. After is started to save the image of the big Corporations and Government it started to be represenetaive of them. Associated with Capitalism? You betcha. Like anything, the more it's used and played out the more predictable and dull it becomes. Routine.
So there was a big rebellion of Helvetica (and this is where I start to wish the movie was edited more, Though I of course understand the importance of showing both sides of the point). Blah blah blah, new generation of designs want to depart from it, nothing works quite as well as it, everyone realizes Helvetica isn't a choice, that it just IS and should have a place in design.
Design is a system. The written word is a system. Like any system it thrives on being efficent. It seems like the peek was already reached in the 1950's and theres no where to go from here but down.
In contemporary times, there are type faces everywhere. We are completely saturated with product pitches and bombarded with information. We either notice something or we don't based on how effective the pitch. Since what they want you to know is in text form, they have to choose a type face, and Helvetica is it. It's the big dog, the everywhere versatile font that is locked down tight. Many have tried to improve on it, but, supposedly it can't be done.
Massimo Vengelli said that Design fights against ugliness of visual disease, and that in Helvetica, it's the space between that really matters. In the 1950's when helvetica was first appearing, it had ALOT of ugliness to fight. It was after the war and people needed something differnt, less wordy, more streamline. Designers wanted a font that Loudly and clearly states modernism. There was a sense of social responsibility to, fix the kinks, smooth out the wrinkles, and the forefront of this idealist movement, were the uber-efficent Swiss. What kind of type would the Swiss come up with? A neutral one, naturally. Designers of the time felt a good type face should be neutral, there should be no meaning in the type face, it should be in the context of the text.
At Haas type foundry, Edward Hoffman was looking for a modern version of another kind of type, Neuo Haas Grotesque. Max Miedinger, who was a salesman at the time, was one of the key roles of the development of Helvetica. They needed a new name for the font, something to compliment its streamlined nature, and to elude to its origins. Helvetia is the latin name for Switzerland. Add a (ICA) and, wham-o, a legend is born.
This pretty much wiped all the old bad typography habits of the 1950's off the bored. The zanny hand lettered swatch typography, with muttled contrive concepts were re[placed by a Cleaner, strait forward approach, that worked.
It worked, it worked so well, infact, that corporations and government offices could not wait to adopt it. Helvetica diluted the authoritarian look of them and made them seem more acessable and open. Tax forms use it. The EPA uses it. Even Nasa uses it! American Airlines adopted it in the 50's and is the only major airline who hasn't altered their logo. Jeep, BMW, Toyota, Kawasaki, Nestle, Verizon, Target, JCPenny, ORAL B GEL FOR GODS SAKE! E-v-e-r-y-o-n-e uses it. It could work for them, and everyone else, because it invites open interpretation. All you have to do is alter the size, color, and spacing to say your unique message.
So of course it became Industry standard. It became convoluted in the eyes of the next design generation. It became the Default with no rythem or contrast in a world who needed more of those things. After is started to save the image of the big Corporations and Government it started to be represenetaive of them. Associated with Capitalism? You betcha. Like anything, the more it's used and played out the more predictable and dull it becomes. Routine.
So there was a big rebellion of Helvetica (and this is where I start to wish the movie was edited more, Though I of course understand the importance of showing both sides of the point). Blah blah blah, new generation of designs want to depart from it, nothing works quite as well as it, everyone realizes Helvetica isn't a choice, that it just IS and should have a place in design.
Design is a system. The written word is a system. Like any system it thrives on being efficent. It seems like the peek was already reached in the 1950's and theres no where to go from here but down.
Wednesday, April 2, 2008
Text anim
I chose to do a monolauge from The long good night. I wanted to create a maurice Binder bond feel.
Tuesday, April 1, 2008
Final Project
I was also kind if inspied by wesely's wondering around piece and thought we could follow the guy when he has the out of body experince instead of staying in the room, but when he sees the shadow man going to his room he has to rush back. Lets say he floats out into the sky, and seeks a bizarre world, a dream landscape. He floats around a bit, but spots the shdow figure heading toward his house, at this point he rushes back in and returns to his paralyzed body, which makes him able to move again and the hallucinations go away.
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