Author: Adam Powell

Creative Images on Photoshop task – TY1SK

Design ideas and design process:

All photoshop designs here included my own photography, the first 2 being of my dogs. In the first one, I isolated him from the background and used a series of brushes to create an ink splatter effect to show off his colours well. Using the eyedropper tool, I could select the same colour as his fur and would create brush strokes behind him. To get rid of any solid outlines I then applied a layer over the top of him, less intense so that all his details could still be seen, yet he is absorbed into all the ink. This made use of his natural colour tones and exaggerated them as much as I could. Alternately for my second design, and other dog, I went for a more cartoony feel, with a pop art aesthetic, steering away from the more complicated aesthetic from the former and favouring bright vibrancy. It feels blockier and more fun, yet I favoured the image resembling more of the original photo, the first design. Therefore, for the final design, I took what worked best in the former two and applied it to my photo of people this time. Using ink splatter to exaggerate the colours of hair, skin and clothes, with a pop art overlay. I feel the transition between realism worked more seamlessly here than in the second design as it blends with colour more effectively due to how intense the presence of the ink is. The focus on the people aids this greatly as the colour and ink flow around the image in a natural way for the audience to follow with their eyes.

 

 Designs 1-3

 

The first image shows the underlying layers of ink brushes and the second shows how awkward the image looked awkward when there was no overlaying ink , as to why i added this later on.

 

The first image shows the early design process when i realised that the pop art effect didn’t work so well on its ownand the second is where I attempted to add no detail to add to a comic tone but decided against it.

The first image shows all the underlying ink layers without the figures with the second showing the figures with just the smoke which  inspired me to consume them in it as it flowed well.

 

Software tutorials

The main assets I used here on Photoshop are the brush and eyedropper tool. This allowed me to colour pick the exact colours of elements of the photos so when painted on top of or behind there is a seamless transition. This also worked for colouring the brush the same colour as the background so there were no harsh lines or clear transitions, it all blends into one. This worked for both the first and final designs to great success. This was especially amplified by increasing the vibrancy of the images so that the colours really popped out and became the main features of the original photos; https://www.youtube.com/watch?v=FipliqS7GYU&list=PLEEgLOr8DxSPMjRanf-E4DaZYLVY9jWhQ&index=7

This is the tutorial I watched by Hass Hasib as the main tutorial in my design, showing how he used brushes in creative ways, something I then wanted to emulate in my own work with my own images.  In the second and third design I also made the images look cartoony by altering layer styles, filters and colour to my advantage as well as learning about colour halftone on Photoshop with Blue Lightning TV Photoshops tutorial; https://www.youtube.com/watch?v=IS6k9ax4joI&list=PLEEgLOr8DxSPMjRanf-E4DaZYLVY9jWhQ&index=9&t=21s

These 2 major stylistic choices are not usually presented simultaneously, therefore, that Is more of a reason why I wanted to combine the two, taking what worked and abusing it to extreme effects with very harsh outlines and thick strokes as well as vibrant and loud colour brush effects that amplify and flood the image. These skills I had never dabbled in before and by revisiting both of them in the final design worked as a kind of test to me to see how to apply what I had learnt in the tutorials without external assistance the second time around, to, what I think, was a success.

 

Resources for research and inspiration

After seeing the first tutorial mentioned above by Hass Hasib, I searched for similar looking final designs using the splash dispersion ink effect such as this one; https://www.youtube.com/watch?v=jxA-E9VtL0s

Although I did not watch the technical elements of this video, I liked how the final image uses colour so violently, in the audience’s face, bringing so much character and excitement. This is a photo where the figure Is moving so it inspired to see if I could bring so much diversity to a stationary image of my dog who has very neutral colours, brown, blacks and whites as opposed to the red and blues present here to see what works well and do the opposite despite the fact to see if I could achieve just as effective results. It became more inspiring when designing the 3rd creative image as here there was much more colour on show I could exploit, make sharper and channel this concept more thoroughly in a playful way as opposed to the more mature and reserved approach I took with the first dog design. For the second design, although not looking very similar, one of my main influences after watching the tutorial was the loading screens for the video game Grand Theft Auto V which present the main characters in a comic pop art version of themselves, still realistic but with more pronunciation on strokes. This Is an approach I took with my second dog, to keep the details but reduce the image to a comic from with bold pronunciation; https://www.youtube.com/watch?v=9_YJnor4XH4

I decided to stray away from the more realistic GTA V aesthetic, applying colour halftone pixels with 6 pixel radius creating marks as if the image is printed on old printers like classic comics and 80s pop art.

 

 

 

 

 

 

 

 

 

ty1sk

Design ideas and design process

1.For my first design I used my own photography to create the illusion of a podcaster holding a mic and a sheet of paper with a serifed T. This is mainly a photographic design with vibrant contrasts between red , black and white in order to catch eyes of the audience, this is in the vain of the classic Apple iPod ads . I used a splatter brush to create a diesel bed effect as if the designs were old and from that era close to 19 years ago. the central theme here is of the Podcaster more than the typography itself, an element I wished to revolve in my second design . To remove colour from the figure I selected half the image, and removed it using the lasso tool, the other half I copied to a new layer and fully painted it, then with the areas removed, the black background seeps through . To create the paper , I used a white square and warped it using the transform tool so it is not a static object . The letter T also had to be rasterised and turned into an object so that it could also be warped to match the flow of
the papers movement

2.In the second design, I wanted something vasty different from the previous photographic one. Therefore this one is almost entirely typographic with vibrant contrast for a background. The large serif , TGC stands for Typographic and Graphic Communication, and the theme of the podcast. It is underlined with a large , thick block, a characteristic known to be seen in modernist design that are seen in modernist designs that are keen on geometric shapes. The splatter patter I reused once again here to add texture to the cover that aesthetically looked a little basic for my aesthetic pleasure , despite the intention being that of a minimalist design. the T and G reflect each other as Type and Graphics are everywhere, yet one C as Communications is a singular concept built of components . Furthermore, if that was mirrored there could be a misconception that it is an O and not two C’s

 

 

 

 

3. In the final design, I wanted the theme of Type to be centre stage and have a more complex maturity to it . I used black and white as the 2 main tones compliment each other well and very different from the other 2 designs featuring vibrant colours. Once again I embraced the geometrical blocks in the centre of the Podcast cover. The upper and lower half of the design are also made out of rectangles for a modernist style, with the exception of the use of serifs. The text is white to contrast with the black rectangle and have a consistency with the white background. The G for Graphics is the main focus point of the design, the largest letter, evenly sowed between the T and C. This section of the black block expands out created by ad

ding a circle over the top of the rectangle in a matching colour, and merging the layers. The white back. At this stage the white background was looking a little bland, therefore , to add to the typographic style, I typed repeatedly , Typography and Graphic Design. The opacity was reduced to under 60 % in order to not distract from the sharp white tone. This adds texture to the image through multiple layers, such as the subject matter has. This is an almost entirely typographic design. The upper block of text was duplicated into the bottom one and is my favourite of the 3 designs.

Software tutorials

Fortunately due to my prior experiences , I am very familiar with photoshop and its tools so I did nit need to learn how to use it from scratch. However, by completing this task and watching the software tutorials it was a helpful refresher of skills and did teach me new things. One tutorial I watched was on how to decrease the opacity of an item,’How to change the opacity of an image in Photoshop CS6, so that it could be seen through(https://www.youtube.com/watch?v=bW5z39Pxdmw). I used this on the background text for my final black and white design to add texture. The first tutorial I watched showed how to decrease opacity for a whole layer. Therefore, I duplicated the text to a new layer, transformed it into an image. This way all the text could be moved at one time in a block, and therefore, any changes ,Ade, such as adjusting the opacity , will affect all the text. Although the second tutorial I watched, ‘Transparent text effect'(https://www.youtube.com/watch?v=bG5r5TM5e2o), did not display exactly what I wanted in its instruction, the method could still be applied to my own work when adapted, which I did by editing text transparency .I also learnt from ‘Matthew Prices: how to design a podcast cover- the ultimate guide’. This taught me many important elements and factors that must be known upon designing a podcast cover including the dimensions. These being a minimum of 1400×1400 pixels and a maximum of 3000×3000 pixels which is 72 dpi in a PNG or JPEG format. It also provided useful information like to consider where the cover would be seen and therefore consider its style of cover. For example, if it is seen somewhere printed like a magazine and not digitally like Spotify , it may need to be obvious it is a podcast cover and include a mic or an element recognised with such.If it is removed from its original environment it must be still be obvious that its a podcast over out of context. I also viewed, ‘How Amy Elshamy created Round things’. However, it did not teach anything that I wished to include for didn’t already know, yet it was still an interesting watch.

Resources for research and inspiration 

In my initial design , a major inspiration were the original iPod classic adverts from 2001 (https://www.theverge.com/2016/4/1/11340526/ipod-commercial-throwback-songs-apple-anniversary). Although I changed many of the key elements of these posters, thy were very basic and effective. They use a bright and colourful neon background which would contrast with  a silhouetted figure dancing in the foreground. There were no textures to them but where clear in their goal and what they were selling .I Felt it was too basic and applied more texture by removing parts of shaded body. This is to create the effect that the podcast over was released at the same time as the iPod adverts nearly 20 years ago, it may decay on paper as its old. The apple iPod adverts also had an influence in the second design with its vibrant background. I experimented making it red and purple, finally settling on the former to further distance from the first design featuring many red elements. For further inspiration I simply browsed podcasts on Spotify, this time focussing on typographic designs , one of which caught my eye being the Anfield Wrap using just the first letters of every word, shortening it to TAW. This also has a distressed look. The simplistic withered look I wished to emulate in my design and is a highly effective, eye catching image. However, it doesn’t not reflect the subject matter very well, having little to do with Liverpool football club.A huge inspiration for my final design is the clothing brand Emporio Armani, the logo is always very geometric and always black and white. The logo is sometimes just typographic and features the spread of an eagle covering a large space. The geometric nature with sharp black and white themes , I recreated in my own design as a vastly different alternate to my former podcast covers

 

 

 

 

 

Challenging

reading film theatre flyer v3 pdf

In an A5 format, the Reading film festival flyer had to demonstrate the relevant information in a small space, which I found particularly challenging using this space efficiently to a positive aesthetical outcome. I used a dark blue colour background so that the black text could still be seen and understood. The age censor of the movies I wanted to be the most obvious to the audience and seen before anything else, this way, the audience know which movies they are allowed to watch i.e. If they are children they can watch; U, PG, or in some cases 12 if they are accompanied by an adult. The serif font , minion pro,(a mature font)shows information more orientated towards older people such as the director of the film , actors and where it is showing, the sort of info a child would arguably not be too concerned about past the title which is in serif , Acumin Variable Concept. Overall this flyer does the job it needs to do displaying the information in a format readable. However, I do believe it looks a bit squashed together and would benefit from more space by maybe using a smaller font and general layout the sheet. It also is fairly bland, aside from the 2 colour restriction, including black , I would like to have included more texture to create a more interesting looking design .

Kung Fu Panda

ty1int- panda PDF1

In addition to recreating the penguin book design from scratch, we would put our own spin on the classic design with more modern fiction. I did mine on the 2008 movie Kung Fu Panda from DreamWorks.  In order to reflect the main characters loving persona, a warm colour that can appeal to kids, the target audience of the movie. I switched out the classic orange for a warm purple colour. Further alterations are that of Po the Panda in the place of the famous Penguin and where the writer of the books name would usually be, the name of the voice actor Jack Black is there. I chose to use him as it is a recognisable name and arguably more recognisable than the writer of the movie. Penguin books also always have a tagline, I used one from a poster for the movie, ‘Prepare for awesomeness. Summertime is Panda time. He’s not a big fat panda… he’s THE big fat panda! ‘a humorous quote to help depicts the comedic tone of the movie. If I were to make any alterations, I would like to make more changed to make the Penguin book design less recognisable, maybe to do so I would have to pull from a more complex source such as a different movie or book.

Light at the end of the tunnel

My chosen theme was labyrinth , in order to emulate that theme, i drove to make my book appear as if it has travelled through a vortex, a journey that can be seen throughout the layers of the book itself. To create texture i shaved down the sides of the  pages and carved a whole all the way through to the other side . Furthermore, i singed and burned pages to represent the journey the characters of the book go through . It is distressed with a sense of hope , as there is light at the end of the tunnel i created with a torch , this is able to shine through the book as a whole as creates an interesting aesthetic . I would like to make some altercations such as removing the text of the book from the front cover to create more ambiguity  .

Covid in Britain

With the design brief , Britain in mind, I thought , as opposed to depicting Britain in a traditional sense, such as with big red buses and telephone boxes, i would display Britain in its current climate during the coronavirus pandemic. This image is a recreation of the British £5 note , with a covid 19 era Boris in place as the key figure on display , using a Great Britain facemask. As a famous landmark, always featured on notes , Big Ben can be seen , this is also to further familiarise the audience with its setting on Britain .The base on Big Ben transitions into the chart for infections on the rise. Further alterations to the original £5 design are the , 2m instead of £5 , in referance to how people had to keep a 2 metre distance from each other during lockdown. The rule of six text replaces, the Bank of England.The final element of text ‘ DOnt go to work ‘ has colour to emphaise how the quote can mean either do or do not go to work , a reflection of the confiusion caused by the Prime ministers speeches.Colour i used sparingly as a display of the dark times we are living in , however, some colour shows that there is still hope . A final addition i wished to have made was to feature a map of Britain in the background behind Boris and Big Ben in the upper half of the note .

AP

Using the Futura typeface, both medium and bold, I experimented with how the 2 letters – A and P could be incorporated together as a single unit, motif or symbol. I began by merging the letters next to each other, however it seemed that it could easily be misread as a letter R. Therefore, I explored flipping one of the letters upside down, leading to my 7th and final design solution, where the cross bar of the A merges into the the counter of the P. This creates an interesting ‘impossible staircase’ type aesthetic. I would like to further explore with colour .