Are you sure this is a good idea?

Black Square with Blue, Ellsworth Kelly, 1970

Tate Modern

inlikewiththecity:

Counter-Composition VI, Theo van Doesburg

Tate Modern

Art to see while in London.

nevver:

Biblio-

nevver:

— Alain de Botton

(Source: rhysatkinson)

Soho inspired palette for my project5 pdf, I’m crying a bit about it because posted on tumblr it looks quite different than on photoshop, I might print off the pdf just to be sure that my tutor is not blinded.

Browns/earthy colours for the brick buildings

Gold for pub names and various embellishments

Rhodamine Red for the borough’s history with the sex industry/neons

crapisgood:

Riso Guide http://bit.ly/ZX1Mzk

youmightfindyourself:

In Japan, people often refer to traffic lights as being blue in color. And this is a bit odd, because the traffic signal indicating ‘go’ in Japan is just as green as it is anywhere else in the world. So why is the color getting lost in translation? This visual conundrum has its roots in the history of language.

Blue and green are similar in hue. They sit next to each other in a rainbow, which means that, to our eyes, light can blend smoothly from blue to green or vice-versa, without going past any other color in between. Before the modern period, Japanese had just one word, Ao, for both blue and green. The wall that divides these colors hadn’t been erected as yet. As the language evolved, in the Heian period around the year 1000, something interesting happened. A new word popped into being – midori – and it described a sort of greenish end of blue. Midori was a shade of ao, it wasn’t really a new color in its own right.

One of the first fences in this color continuum came from an unlikely place – crayons. In 1917, the first crayons were imported into Japan, and they brought with them a way of dividing a seamless visual spread into neat, discrete chunks. There were different crayons for green (midori) and blue (ao), and children started to adopt these names. But the real change came during the Allied occupation of Japan after World War II, when new educational material started to circulate. In 1951, teaching guidelines for first grade teachers distinguished blue from green, and the word midori was shoehorned to fit this new purpose.

In modern Japanese, midori is the word for green, as distinct from blue. This divorce of blue and green was not without its scars. There are clues that remain in the language, that bear witness to this awkward separation. For example, in many languages the word for vegetable is synonymous with green (sabzi in Urdu literally means green-ness, and in English we say ‘eat your greens’). But in Japanese, vegetables are ao-mono, literally blue things. Green apples? They’re blue too. As are the first leaves of spring, if you go by their Japanese name. In English, the term green is sometimes used to describe a novice, someone inexperienced. In Japanese, they’re ao-kusai, literally they ‘smell of blue’. It’s as if the borders that separate colors follow a slightly different route in Japan.

And it’s not just Japanese. There are plenty of other languages that blur the lines between what we call blue and green. Many languages don’t distinguish between the two colors at all. In the Thai language, khiaw means green except if it refers to the sky or the sea, in which case it’s blue.  The Korean word purueda could refer to either blue or green, and the same goes for the Chinese word qīng.It’s not just East Asian languages either, this is something you see across language families. In fact, Radiolab had a fascinating recent episode on color where they talked about how there was no blue in the original Hebrew Bible, nor in all of Homer’s Illiad or Odyssey!

I find this fascinating, because it highlights a powerful idea about how we might see the world. After all, what really is a color? Just like the crayons, we’re taking something that has no natural boundaries – the frequencies of visible light – and dividing into convenient packages that we give a name.

Read on.

You are asked to design a newspaper.

First, you will need to explore the notion of news and storytelling and how you gather and record the news.

First, you will need to learn how to tell a story in this medium and thus all the nuts and bolts. Identify what is news-worthy and learn the difference between a newspaper article and a magazine article. Get out there and generate your own content (embarrass yourself in interviews, take dubious looking photos).

Next, you need to consider the reader and what position your newspaper takes in the world of media. Exploring the range of broadsheet, tabloid, artists, political, activist and online newspapers to find your position within this field of media.

Next, decide on what the industry looks like and where you want to sit. Discover all the different formats and their implications.

Newspaper design requires a multitude of skills and critical decision-making. Typography, layout/composition, hierarchy of information, image generation and editorial and print production are amongst some of these skills required.

Newspaper design is all about multi-tasking and stressful decision making. Amongst these, type related trouble, exciting layouts, navigation, photography, content generation and management and printing methods.

You can decide upon your main role (chief editor, type designer etc) but also the other minor roles as an independent publisher. You can work individually or decide to form a group to collaborate on producing a larger, more ambitious outcome.

You should choose which part of the process you want to be the most influential in your project, no matter how bizarre for a graphic designer student. Decide a lot of things in a collaboration so your respective terrible decisions are counter-balanced.

Once these aspects have been decided you will need to research and gather the content of your newspaper.

Go forth in the world and over-use the internet and library resources but also generate a lot of genuinely interesting and fun content.

Does your paper feature current news (good & bad) or does it have a certain angle to it (crime, history, political etc), is it local, national or international news?

Choose a subject that you would not be bored of after six weeks of intense research and discussing. Find a subject you like and somehow find news related to it.

This project has 2 x design requirements:

Outcome 01.

1. Generate a name & identity and design your newspaper’s masthead

2. Decide on the typefaces, layout, language, imagery, pace and tone to define the overall aesthetic design of your newspaper

3. Gather your content

4. Design a whole edition and produce at least 5 + copies of your completed newspaper

Outcome 02.

An edited research document that clearly shows your individual research, development and reflection for this project.

This can be any format but should reflect the approach you have taken throughout the project and be discussed with your tutors.

http://www.smashingmagazine.com/2008/11/11/newspaper-website-design-trends-and-examples/#more-1791