Postcard Design (with Colour)

Postcard Design (with Colour)

by Al Holt (4565)

Postcard Design

Postcard Design

Al Holt (4565)

 For my postcard design, I for the time being made it quite simple. Applying the rules of closure and continuation throughout the series, more so as seen in the coloured versions. The mercury based postcard using the letters 'Hg', uses raification to build the letter 'H'. The theme I chose too go with is quite literal, employing the use of 'elements' from the periodic table as design elements. All four elements are from four separate groups, yet all these element fall into a group of some form of 
metal;




Sodium (Na) – Alkali Metals

Mercury (Hg) – Transition Metal

Tin (Sn) – Basic/Post-transition                                                        Metal

Tellurium (Te) – Semi/Metalloid

The colouring of the postcards is based on the tints the selected blocks on most common periodic tables have. The overall lighting will be set to tints (light) rather than shades.

Postcards Mindmap

Colour Theory Part Two (Examples)

Colour Theory Part Two (Examples)

In this blog post I will be showing some examples of colour theory; primary, secondary, tertiary, analogues and complementary.

Primary

Firstly, as much as I despise the character “Superman”, I must admit that he is the perfect embodiment of primary colours. Providing the example of the film poster for Superman Returns, his outfit consists of red, yellow and blue set at full saturation.

 

Secondary

The image of secondary colours is another superhero, “The Incredible Hulk”. Even though I tried to search for a movie poster that included all three colours (purple, orange, green), it seemed next to impossible. The Hulk comic books however were a prime example that related to this colour theory.

Tertiary

In my third example I show the use of tertiary colours in the film poster “Smokin' Aces”, this poster uses the colours; azure, light orange, violet, rose, and a darkened chartreuse. The colours are almost entirely evenly spread out, much like the odds of the characters in the films premise.

 

Analogues

Example four features a fan made poster for the film “Bronson”, a bio-pic of the British convict Charles Bronson. The colours in this image do line up, however they may be a tad too dark for the regular colour wheel, yet the principle is there. The colours range from very dark orange (brown?) to very light/faded orange. 

Complementary

The final image uses complementary colours. The image is of Eric Bana portraying the famed Australian criminal Chopper Read in the film “Chopper”. The film had many colourfully tinted shots, this one in particular shows the juxtaposition of the lighting at the bar in the background.  

Colour Theory Part One

Colour Theory Part One

Al Holt (4565)

Principles of Gestalt Law

Principles of Gestalt Law

by Al Holt (4565)

Font Design Poster and Overview

Font Design Poster and Overview

By Al Holt (4565)

                                                         

                                                                                                                 

                                                                                                                                       

Works of M.C Escher

Works of M.C Escher

Written by Al Holt (4565)

                                                                                                                       

The first artwork of the drawing hands uses the principle of continuation as it works over itself in a circular motion. I found this work to also contain a principle that once upon time I came across in a work of Friedrich Nietzsche (either “Beyond Good and Evil” or “Thus spoke Zarathustra”) called “Causa Sui”, translated as “Cause of itself”. This principle was given as an example of describing a self creating god, however it can be implied here as this piece shows an artwork in perpetual   motion.

                                                                                                                                    

The second image of black and white swans flying about uses the principle of proximity, due to the tight knit grouping of the birds, this bevy of swans is seen and one formation per shade (white and black), thus we differentiate between them by shade rather than shape, even though there is but one group. Another principle used here is “Similarity”, the flight paths of the two groups creates a lemniscate form, the infinity symbol. We see the symbol instantly as the shading of the swans lets us break them apart into two groups. The shading in this case could to some extent be considered as by-product of the principle “figure and ground”, yet not in its entirety, as the shading works as a break away between the swans rather than the background itself.                                      

Image references:
http://www.bocamuseum.org/clientuploads/Podcasts1/29_Drawing%20Hands%20by%20Escher.jpg
http://uploads4.wikiart.org/images/m-c-escher/swans.jpg