Friday, 25 January 2013

FINAL SUPPLEMENT

Here you can see the final supplement which has been designed and produced for The Guardian's G2. 

It is aimed at the general public, educating and informing them of the Leveson Inquiry. It is written, illustrated and designed with info graphics, to create a light hearted take on the matter, summarising the inquiry in a simplistic, basic, to the point publication. The majority of those asked when carrying out my primary research knew very little on the matter, and knew more about Rupert Murdoch specifically, hence his placement on the cover, stating he is a core participant, and to engage the viewer. 

I am really happy overall with the final publication. I feel it fits the brief, it's target audience, purpose and context due to content and illustration, as well as being highly info graphic. 

I printed several mock ups prior printing on the final stock choice, to ensure printing double sided printing worked correctly, and that no detail/text was cut off due to bleed issues. These are shown below: 



I printed the publication on 135gsm white silk paper, to obtain a high quality, glossy supplement. An A2 poster was also included on a matte stock, and folded to fit inside the A5 publication. However, if printed again it would be printed on coated stock to ensure continuity and to look more like a high gloss poster. I thought this would be a good incentive to obtain the viewers attention, and encourage them to read it. I think the minimal colour scheme, and similar layouts to the G2 supplements currently published are also fitting, and are important to emphasise context and continuity.







Below is the feedback received from my tutors during the group crit. Overall the feedback was extremely positive from tutors and fellow students, with very little to criticise. 

Criticisms:

- Stock Choices: does the poster need to be printed on the same stock as the final supplement for consistency.
- The middle page should be trimmed slightly before stapling to ensure the supplement can be flicked through easier, without falling on the middle page directly. 

Positive Feedback:

- Strong concept, idea and tone.
- Suits target audience, and fulfil needs of engaging with those with no prior knowledge of the inquiry.
- High production value and execution.
- In place with the brief perfectly, and would look fitting if placed in the newspaper. Designed to be in The Guardian.
- Lots of research, work and time has been put into this publication.
- Info graphic elements are engaging and work really well, fitting the brief.
- "Brilliant, perfect"

If I was to re do this brief the only difference I would make is to print the poster on gloss paper, to give the effect of a high quality poster, and to keep continuity running through the supplement. I would also look into different types of binding, if this was to be expanded into a more detailed booklet. Overall though I am really proud and happy of the work I created. I feel it fits the brief, and I have enjoyed the past 3 weeks not only writing and designing a supplement about the inquiry, but also learning about it. I feel this will turn any novice into an expert, and I am proud to say it looks like it could easily fit in with the current G2 supplements.

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I later printed a high gloss version of the poster, to correspond with the stock of the supplement, I feel it has a much richer, more polished look, and is fitting with the supplement and context. This will be included in the hand in.

COLOUR THEORY PART 3 & 4

Part 3 - Colour and Contrast:

Itten's 7 Contrasts:

Johannes Itten was one of the first people to define and identify strategies for successful colour combinations. Through his research he devised seven methodologies for coordinating colors utilizing the hue's contrasting properties. These contrasts add other variations with respect to the intensity of the respective hues; i.e. contrasts may be obtained due to light, moderate, or dark value.

1. The Contrast of Saturation
2. The Contrast of Light and Dark (Tone)
3. The Contrast of Extension
4. The Contrast of Compliments
5. Simultaneous Contrast
6. The Contrast of Hue
7. The Contrast of Warm and Cool (Temperature)

Source: worqx

1. Contrast of Tone:

Formed by the juxtaposition of light and dark tones. This could be monochromatic. Colours with similar tonal values being together can reduce readability.










2. Contrast of Hue:

Formed by the juxtaposing of different hues. The greater the distance between hues on s colour wheel, the greater the contrast.







3. Contrast of Saturation:

Formed by the juxtaposition of dark and light values and their relative saturations. 








4. Contrast of Extension:

Formed by assigning proportional field sizes in relation to the visual weight of a colour. Also known as the contrast of proportion. 

(Blue heaviest > Darkest, Yellow > Lightest) = Colour Perception. 

Balance colours out in proportion > Balance/In-balance.


Proportion of colours can effect readability and legibility. 


The above 2 images have the same amount of purple in both blocks. There is a high contrast between the 2 colours, and when interspersed colours are fighting for attention in your field of colour/vision. Cumulative contrast, highly saturated colours. Tonal values are very far apart, with a high contrast of hue. 






Monochromatic colour = one colour. However, equal amounts of colour does not mean equal colour balance, as shown above.

5. Contrast of Temperature:

Formed by juxtaposing hues that can be considered warm/cool (orange/blue). Colour can be relative to temperature. 

Red is more toward violet, a cooler shade of 'red'. This makes mid-red warmer. Darker red cools mid-red down. This contrast is based on temperature. 








Black bands below show the differentiation between hue and tone.



When black is removed, colours turn into a set of gradients. When black is re added, colours turn flat and lose gradient. Visually different colours due to the perception of colour.

6. Complimentary Contrast:

Formed by juxtaposing complimentary colours of a colour wheel or perceptual opposites. 


Blue/Orange (desaturated)


Red/Green


Black/White

The above are all opposites on the colour wheel, therefore being complimentaries, whilst being contrasting. The high contrast shows a high visual vibration when staring at the colours, due to the range of impacting colours chosen.





The text is barely readable or legible, and creates a vibrating/bouncing effect once looked at due to the highly chromatic, contrasting colours.

7. Simultaneous Contrast:

Formed when colour boundaries perceptually vibrate, for example, green and yellow. Maximum impact colours allow for elements to blur into green, and the yellow becomes slightly orange to look at.  (Green = blue + yellow. Blue comes out through the green as it is forcing its complimentary out, forcing red into the field of vision. Red is also missing as brown starts to fill in the missing colours - bleeds in yellow value of the green). 




If you don't introduce colour, it will start to introduce itself.

Part 4 - Subjective Colour:

Type & Colour:





Counters are read to help distinguish type, however purple type over a yellow background makes type less legible and readable. The yellow type on a purple background however is easy to read. 



Colour starts to control the background, especially neutral colours and grey. Yellow here shows violet in the background due to complimentary contrast, forcing out colours. This is the same for blue, showing a orange/brown hue which is subtle.



Bright yellow and desaturated yellow introduced violet. 



This is desaturated even more but appears as 4 colours. This optically changes due to the background.


Green/Grey (violet tint) - green pushes out complimentaries whilst grey does not change. Grey/violet - grey takes on green/yellow tint, which is imposing on neutral colours.












Green/violet - colours take each other on due to the complimentaries. Blue/orange - grey text takes on shades of blue/orange. Weaker colours affected by chromatic/stronger colours around it, imposing themselves on weaker ones. For example, red will demand green as it is also present. Where red/green meets borders optically 'wobble'. 

'After image' - colour memory in retina. It is burnt in to remember the colour. If you stare at the dot below, introduce the red and then remove the cross, the red cross should still be visible by sight.









White/blue - yellow/orange halo being imposed onto white background.

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An Experiment:


An experiment was carried out by Leo and I in class to test how contrasts and perceptions change when a colour is placed on another.

Above there is an increase in contrast that makes the background appear dull and lighter. The hotter the object, the cooler the background.


Above, a red bauble was placed on a red background. The object appears more saturated, with a similar hue and tone. The temperature makes the object appear warmer, and the background cooler.


The object here is much more saturated, with a lower hue and tone of the background, which appears duller. The temperature of the object is warmer, whilst the background is cooler.