OUGD603 / Kinga Kopacz

KINGA

Brief

-Deadlines

Briefing 22 / 04 / 16

Postcards 29 / 04 / 16

PDF Portfolio 06 / 05 / 16

-Plan

Although the postcards and portfolio had different deadlines, the two had to be consistent and recognizable collectively. This dictated a visual language to be used throughout both.

Kinga dictated the images that were to be included in the portfolio and to appear as postcards.

- Deliverables:

60 double sided postcards (6 Images provided)

Portfolio -  ‘At One With Nature’ (Print and Digital) (24 images provided)
- Cover
- Internal
- Index
- Introduction
- Contact Details

-Intent

My reasoning for partaking in the brief was my desire to focus upon fashion publishing. My ability to work with imagery is necessary in my portfolio in order to evidence my interest in the field.

Research

-Context

Kinga’s intention of both postcards and portfolio were to showcase her photography at the end of year shows and when applying for internships and jobs.

The portfolio would be used in both print and digital formats, sent as attachments digitally and to sit along larger prints at the end of year show.

-Previous visual applications


- Target Audience

The first iteration of target audience of the work would be similar to the target audience identified in the EOYS brief.

Industry Professionals.

College Alumni and tutors.

Potential employers and collaborators.

-Statistics


Concept
-Initial Ideas

The context of portfolios dictates the need for the design to not impede upon the work, if the design was to interact with the imagery it would portray a false sense of ownership or even degrade from the communication.

The brief and context of the deliverables required a un-impeding, ‘invisible’ design as not to impede upon Kinga’s work. This reflected a similarity to the principals of Modernism, as discussed in my 2nd year investigation into the principles of Post-Modernism. Form was to follow function, the function being showcasing Kinga’s work ultimately; the form would be as neutral and subtle as possible.

-Critique
-Translations of Concept

The visual language was to be dictated by the need to appear ‘invisible’. The orientation, size, font and composition of typography was to exaggerate the scale and composition of the imagery provided.

Each set of images required a title and credits, the inclusion of the two appearing on the beginning image of a project would result in the following images to be without typography and allow the imagery to showcase independently.

Title & Credits

The title and credits were to appear over the imagery. The title would sit in the top left, aligned to a margin reiterated throughout the book on a horizontal baseline as appear first in the hierarchy.

The credits would sit in the bottom right of the image, aligned to the same margin, on a vertical access in order to appear illegible and therefore unobtrusive.

The typeface used would reiterate the modernist principles of the composition and hierarchy, a sans-serif left aligned consistently sized akkurat light. The contemporary nature of the font family complimented the contemporary nature of the photography; a serif typeface would contrast the modernist principles of functionality.

The colour of the typography was to be of the paper (white), coloured copy would interfere with the nature of the photography.

The typography would be consistent throughout the portfolio and postcards in order to reflect continuity and be evidently related to Kinga.

Imagery

The presentation of imagery was developed with Kinga in order to identify the most appropriate format for the images. Modernist principles would insist each image to be of the same format in attempt to be consistent however, through experimentation, this proved to detract from showcasing the imagery. The consistent manner proved ‘tedious’.

In response, a contrasting scale was applied to each double page spread. The right hand image with a border would reflect a similarity to the postcards while the consistent nature of each DPS would reflect the modernist approach identified initially.



-Adhering translations
Feedback
-Record
-Consideration of feedback
Application
-Production (Digital/Print)

Portfolio

The requirement for both print and digital versions of the portfolio dictated two variations, one in CMYK and conversely RGB formats. The printed format would paginated and exported with crop and bleed marks in order to be perfectly bound.

The stock used in the printed format would attempt to best showcase Kinga’s work, a gloss/satin would be more efficient than a matte alternative in reflecting the closest translation of colour and light within the imagery.

Postcards

The pagination of the postcards would have to be considered in order to ensure the most efficient printing while guaranteeing each image would be matched with an alternate image. Each of 6 images would be paired with an alternate image to maintain an equal amount of image to postcards (Each image would have 10 multiples = 6 x 10=60).

A print slot was booked for the 29 / 04 / 16 in LCA’s digital print resource for the postcards, these would be printed on 15 x double sided A3s on 220gsm gloss in order to create 60 DS postcards.