KINETIC TYPE

FINAL KINETIC TYPE STORYBOARD

Incorporated are my 3 verbs fall, shake, and crash.

LOGOS-more examples...I think

I remembered my manager had taken these at this past years Starbucks Convention down in Louisiana...and I think they have some Logos characteristics that other people might find interesting about people who work for the company. It's crazy! I've been with the company for 3 years. YIKES! I've spent how many hours doing what?

Section Seven

I found this design company through DeOliver Twigg Hallin, which is firm I have visited and gotten to know back home. Anyway, their website is well done! I think the whole site is a Flash based site, but the transitions from one piece to another is amazing.

Each one opens as a small book, slowly unfolding and then when you are done viewing that client, you can close the book and go to the next one. (make sure you choose a book/client where they have a lot to show for...the book unfold more haha). I thought it was very interesting and dynamic.

F&S: 3 MODES OF APPEAL

ETHOS

I would classify this as an ethos poster because of the dominant clarity of the USSR.

PATHOS

The body language and facial expression makes this an example of Pathos. It seems like she wants to shout off the page about Holland saying "Come visit".













LOGOS

This is an example of Logos because there are many factual things within the poster. The ruler measuring the length of the fish is one example. The poster also says facts like: Rainbow Trout, (actual size), weight=17lbs 10oz.

In Between

So I began with the first 3 attempts below, not really sure what to do with they poems. Do I display the words literally? Do I use them once? Do I put them in order? Do I use the whole page? All these questions and more came about when starting this project.

After meeting with Kidwell for a bit....needless to say, some things were cleared up. I THINK. When I reviewed what I had after meeting with Kidwell, I discovered that I liked having one dominant word/object(3) and one that repeats(or is the expressive part[4]). I think I'm going to stick with the title of the poem displaying in Frutiger family, and the main poem text in standard Garamond. After thinking about short poems and long poems, I would like to keep the consistency between them all, so one expressive item will work. A white hunter doesn't have much beef whereas Rooms or Dinner has a little more turkey to work with.

It is very graphic and simplistic. I'm going to explore the expressive area a little more to see what I can come up with since the simplistic look really doesn't flow with Gertrude Steins amazing random poetry.

Poem choices

SHOES.
To be a wall with a damper a stream of pounding way and nearly enough choice makes a steady midnight. It is pus.

A shallow hole rose on red, a shallow hole in and in this makes ale less. It shows shine.

A WHITE HUNTER.
A white hunter is nearly crazy.

DINNER.
Not a little fit, not a little fit sun sat in shed more mentally.

Let us why, let us why weight, let us why winter chess, let us why way.

Only a moon to soup her, only that in the sell never never be the cocups nice be, shatter it they lay.

Egg ear nuts, look a bout. Shoulder. Let it strange, sold in bell next herds.

It was a time when in the acres in late there was a wheel that shot a burst of land and needless are niggers and a sample sample set of old eaten butterflies with spoons, all of it to be are fled and measure make it, make it, yet all the one in that we see where shall not it set with a left and more so, yes there add when the longer not it shall the best in the way when all be with when shall not for there with see and chest how for another excellent and excellent and easy easy excellent and easy express e c, all to be nice all to be no so. All to be no so no so. All to be not a white old chat churner. Not to be any example of an edible apple in.

A PLATE.
An occasion for a plate, an occasional resource is in buying and how soon does washing enable a selection of the same thing neater. If the party is small a clever song is in order.

Plates and a dinner set of colored china. Pack together a string and enough with it to protect the centre, cause a considerable haste and gather more as it is cooling, collect more trembling and not any even trembling, cause a whole thing to be a church.

A sad size a size that is not sad is blue as every bit of blue is precocious. A kind of green a game in green and nothing flat nothing quite flat and more round, nothing a particular color strangely, nothing breaking the losing of no little piece.

A splendid address a really splendid address is not shown by giving a flower freely, it is not shown by a mark or by wetting.

Cut cut in white, cut in white so lately. Cut more than any other and show it. Show it in the stem and in starting and in evening coming complication.

A lamp is not the only sign of glass. The lamp and the cake are not the only sign of stone. The lamp and the cake and the cover are not the only necessity altogether.

A plan a hearty plan, a compressed disease and no coffee, not even a card or a change to incline each way, a plan that has that excess and that break is the one that shows filling.


IN BETWEEN.
In between a place and candy is a narrow foot-path that shows more mounting than anything, so much really that a calling meaning a bolster measured a whole thing with that. A virgin a whole virgin is judged made and so between curves and outlines and real seasons and more out glasses and a perfectly unprecedented arrangement between old ladies and mild colds there is no satin wood shining.

Clarence Coles Phillips

Christmas Greetings
by Clarence Coles Phillips

This is was on the cover of LIFE magazine back in December 2, 1909. It was one of the many Holdiay issues they do. I think this piece by Coles Phillips is portraying a Pathos(an emotional appeal) mode of appeal. The body language, direction of the way she's facing, and the action of placing a letter home/receiving a letter all relate to the sensitive nature during Christmas time. I also think they "fade away girl" look adds to the sensitive nature. The fact that she's blended with the background adds a metaphoric connection with the environment/time/season.

Clarence Coles Phillips (1880 – June 27, 1927^[1]) was an American artist.

He was born in Springfield, Ohio. While studying at Kenyon College in 1902, he found an audience for drawing in the school yearbooks. His drawings appear in the 1901-1904 issues of The Reveille, and in the 1921 and 1922 editions of the U.S. Naval Academy's yearbook, "Lucky bag". After leaving Kenyon, Phillips moved to New York determined to earn a living with his art. After taking classes in art school, Phillips started his own advertisement agency. In 1907, Phillips met with J.A. Mitchell, the publisher of Life Magazine, and was hired at the age of 26. Phillips would be associated with the magazine throughout his life.

Phillips became very popular with readers and was awarded cover assignments. In 1908, he created a cover that would become his trademark: by combining foreground and background elements of the same color, he created the "fadeaway girl," which became a popular convention in print art for decades to come.

Phillips lived and worked in New Rochelle, New York, a popular residential community for illustrators including J.C. Leyendecker and Norman Rockwell. He died in New Rochelle on June 27, 1927, at the age of 47, of a kidney ailment. The day he died, his good friend and neighbor J.C. Leyendecker took the four Phillips children into Manhattan to see the Charles Lindbergh Parade on Fifth Avenue.^[2]

(http://en.wikipedia.org/wiki/Coles_Phillips

More work from Clarence Coles Phillips using the "fadeaway girl" look

NA: SHAKE, FALL, & CRASH

STARBUCKS!

As some of you may or may not know, I've been working for Starbucks for about 3 years. Well, about a year ago there was a call for Chalkboard art done with favorite coffees. I just revisited the site and realized I WAS ON IT! They didn't give notifications or anything, and a couple weeks after it still wasn't updated. Anyway, you can see mine, along with many others online at www.starbuckscoffeeathome.com in the Barista Gallery. It even says I'm from Colorado Springs. haha. I actually created it using oil pastel...interesting.

FINAL POSTER

In my poster design for Trio da Paz I chose Sugar Loaf Mountain and their cable car system, located in their hometown of Rio de Janeiro, and visually replaced the car with a music note in order to represent the journey of celebrating the spirit of Brazilian music.

Nightly attempt

I do have more tries, but running out of time before work this morning, but wanted to get one up! Overall I think it's too dark as far as being able to see the illustration.

BRAZILIAN NIGHTS

MORE POSTER COMPS

NA: THE COMBO

TYPE3

JAZZ POSTER: WHITE SPACE!!

Below are a couple more iterations of my Brazilian Nights Jazz poster. I got some help from Jamie to use the Illustration a little more and utilize the white space potential it had.
I tried a couple in a cream color background.

And then lastly I tried one with a white background. I actually like the white better. What do you think?

JAZZ POSTER UPDATE

Ok, so I went back to the drawing board, as my ideas were not strong enough. I felt like there was not enough beef in the sandwich. I also think I was trying too much to incorporate the 3 artists instead of focusing on Trio Da Paz, which is the group the press release highlighted as the main event.

I went back and did more and more research. (Reading through the reviews again, seeing if there could be potential in another quote; listening to their music a lot more, feeling the vibe; researching Rio De Janeiro (their hometown) and stumbling upon the Sugarloaf Mountain Cable Car ride. The press release stated, "collectively they will take us on a JOURNEY celebrating the sublime and infectious spirit of Brazilian music". From this press release quote, I picked up the term journey which is an act of traveling from one place to another, then on to terms like expedition, tour, travel. Then that lead me to transportation; basically what one would use to do the act of journey or travel.

The Sugarloaf Mountain Cable car rides from 2 mountains through 3 stops and a total of 4 cars running from one to another. So, below I illustrated with coffee and watercolor the cable car in motion leaving from one of the mountains.
After thinking a little more, I decided to transform the shape of the cable car into a music note, as the cable lines to me resembled the lines on a music sheet. I think the illustration is a visual metaphor for the music notes/brazilian music, but also synecdoche whereas it is representing the whole city of Rio De Janeiro.

I went to find more inspiration. I noticed that the diamond shape repeated in one of the fashion shows. With help from Micah, I went to research and discovered these vintage travel posters. Once again, I was back to the organic feel that I had originally liked, and also the warm tones. Also, there are some images from the Sugarloaf cable car. (Interesting fact: they are considered the safest cable car ride because they have not had any deaths/serious injuries from any of the millions of casualties that have experienced it. The background is a diagonal form pattern which is reinforcing the diagonal located on the Brazil Flag. I might have to elongate the form a little more; therefore it won't be completely square.