OUGD406 - License to Print Money: Bank Note Characteristics Research

Through exploration and research into current bank notes, I have been able to identify the finishes, techniques and design elements used in the production of notes - allowing me to explore the potentials of this specific subject of design as well as its limitations.

Below are the identified techniques/finishes/design elements:

• Stock/paper - banknotes are printed on special paper that gives them their unique feel.

• Raised Print - by running your finger across the front some notes, you can feel raised print in areas such as the words 'Bank of England.'

• Metallic Thread - the thread is embedded in the paper of every banknote. If you hold the note up to the light, the metallic thread appears as a continuous dark line.

• Watermark - When you hold some notes up to the light, you will see an image of the Queen's portrait together with a bright number.

• Premium Print Quality -the printed lines and colours on bank notes are sharp, clear and free from smudges or blurred edges.

• Micro Lettering - using a magnifying glass, by looking closely at the lettering beneath the Queen's portrait on some notes - you will see the value of the note written in small letter and numbers.

• Ultra Violet - if you look at the front of some notes under a good quality ultra-violet light, the amount appears in bright red and green. 

• See-through register - By holding up some bank notes to the light you will see coloured irregular shapes printed on the front and back that combine to form the £ symbol.

• Holographic feature/strip -  there is a hologram on the foil patch on the front of some notes. If you tilt the note, the image will change between a brightly coloured picture of Britannia and a number. 

• Guilloches - ornamentation resembling braided or interlaced ribbons.

OUGD406 - License to Print Money: The Future of Money (Research)

If ever there was any dispute over a lack of evidence showing the rapid technological advancement of the digital age, the first place to come to would be finance and transaction. No longer is money restricted to the confines of our wallets and purses as a result of the possibilities now made available both in store and online when making purchases. This is thanks to the following points of service and technology dominating our lifestyles:

Contactless Payment 

Contactless payment systems are credit cards, debit cards, key fobs, smart cards or mobile devices such as smartphones that use radio-frequency identification or near field communication to make secure payments. They are embedded with a chip and an antenna that enable consumers to wave their card, fob, or handheld device over a reader at the point of sale terminal.

Claims have been made by some suppliers that transactions can be made almost twice as fast as a conventional cash, credit, or debit card purchases as no signature or PIN verification is typically required - although this means contactless purchases are price-limited. In the United Kingdom, payments using contactless cards are limited to £30 (previously £20 until August 2015).

Research indicates that consumers are more likely to spend money using their cards due to the ease of small transactions, with MasterCard Canada saying it has seen 'about 25 percent' higher spending by users of its contactless cards. 

Apple Pay

Apple Pay is a mobile payment and digital wallet service provided by Apple Inc. The service allows users to make payments using their mobile/smart devices, and does not require Apple Pay-specific contactless payment terminals, working with existing contactless terminals - as detailed above. 



PayPal

'Checkout with PayPal – Faster. Safer. Easier.

PayPal is a service that enables you to pay, send money, and accept payments without revealing your financial details helping customers to stay secure and protected Pay however they want. 

PayPal uses the latest in data encryption and anti-fraud technology to help keep customer information secure, reducing the risk of online fraud.PayPal accounts can be linked to personal bank accounts, debit and credit cards simply by adding the details to the PayPal account. 

PayPal can be selected as a payment option when prompted on some sites, quickly opening the PayPal account before adding the payment method to complete any online purchase. PayPal accounts can be used to shop safer with millions of merchants and sellers around the globe wherever you see the PayPal logo. Every day, 173 million people use PayPal in 190 countries and with 21 different currencies.

OUGD406 - License to Print Money: Defining Money (Research)

'Money'

• A medium that can be exchanged for goods and services and is used as a measure of their values on the market,including among its forms a commodity such as gold, an officially issued coin or note, or a deposit in a checking account or other readily liquefiable account.

• The official currency, coins, and negotiable paper notes issued by a government.

• Assets and property considered in terms of monetary value; wealth.

The most typical consideration of money is that which is concerned with the development of a means of carrying out transactions involving a physical medium of exchange. Money can be further be defined as any clearly identifiable object of value that is generally accepted as payment for goods and/or services, including repayment of debts within a market or which is legal tender within a country.

Historically, many different subjects have been used as medium of exchange in markets including livestock, sacks of cereal grain and armour.  Most commonly things directly useful within themselves were used in transaction, however sometimes simply attractive items such as precious metals, cowry shells or beads were exchanged for more useful commodities. 

OUGD406 - License to Print Money: Information and Interpretation

Brief title: 'Licence to Print Money'

Studio Brief 02 required the undertaking of research into the development of coinage and banknotes whilst also exploring the cultural understandings of legal tender. An interrogation of financial transactions was to be engaged with in order to complete a proposal for the future of the banknote, with consideration for currently available means of financial transaction such as Apple Pay, Contactless payment, PayPal and Bitcoin.

The proposed banknote design should be presented as a finished print that makes use of any of the varied analogue print processes available within the college's workshops. Submissions should additionally be created using a minimum of two colours/finishes. Paper size for completed work will be 21cm x 26cm with banknote designs displayed landscape. (The size of the actual banknotes are to be determined by the student based on their design rationale. It is up to the student whether they choose to display one or two sides of a banknote on the print.) 

Each 21cm x 26cm print is to be submitted by 21st April 2016 for inclusion in a Level 4 and Level 5 group show that will run in May 2016.

Please note, finished prints for this brief are not digital prints.

Brief Interpretation

When considering the current situation regarding payment, money and banking - and therefore the future of these respectively - I feel conflicted with my own desires on what money is to become. As a young adult, I am naturally interested and in support of development in technology and our abilities to find new, easier ways to live daily life, such as contactless payment (which is already greatly missed by myself at stores which are yet to provide it). However, as somewhat of a traditionalist, I would be sad to see the end of the physical banknote and its upheaval from society, normality even. 

We are living in a time in which bank employees' main targets are to show customers how to use self-service machines and suggest the use of telephone banking; More and more small branches are closing while larger branches become environments of self-service and speciality trips for that which remains impossible to be provided through a machine. 

The current generation is still inclusive of older individuals to whom the notion alone of alternative methods of payment are not understood, disregarded or frightening. When designing a new bank note, these people will still need consideration - as for the foreseeable future at the very least, physical bank notes and money are going to be both needed and wanted within society. 

OUGD406 - Secret 7 - Final Resolution for Submission (Evaluation)

Above is the final resolution I have submitted into the Secret 7 competition. The concept is concerned with two overlapping circles creating a centralised ellipse, in which there is a blue eye. This design makes reference to not only the track name, 'clearest blue,' but also the album name 'Every Open Eye.' Connections are established through colour, imagery and song lyrics. The eye represents the act of being able to see clearly, whilst the interconnected circles play on the lyrics 'shaped by the clearest blue' through the presence of circles - which also subtly links back to the geometric visual identity used by the band in their artwork and promotional material. Other lyrics informing the design include 'caught inside' as the eye sits within the space created by the overlapped circles, which also address the notion of 'meeting halfway.'

The resolution's foundation is a 7x7" CMYK colour mode digital canvas, as to adhere to the Secret 7 brief requirements and ensure featured colours are eligible for accurate reproduction in print if selected to be featured in this years exhibition.

I constructed the concept one resolution using circles to form and develop the design. The overlapping sector is removed from two circles, leaving a pointed-ellipse shape reminiscent of
the typical framing of the eye from the lids, creating space in which the blue eye sits centrally as
the focus point of the composition and visual information as a whole.

The painted eye featured within the design holds the gaze as a result of its captivating realism, making for a more engaging design. As a result of the range of tones/shades present within the eye, both circular forms that surround the eye are cohesively made complimentary to the design as a whole, bringing the individual visual information together as one via consistent use of hue. Colours used to produce the eye include Phthalo Blue, Prussian Blue, Ultramarine, Cobalt Blue and Cerulean Blue, as well as mixed variations to provide a plethora of tones and shades that would allow me to effectively portray the fine detail of an eye and achieve depth. I also used various brush weights and sizes to create differentiating textures/qualities of line.

The mono-printed circles that encapsulate the eye are a carefully selected tonal combination that 

bear strong contrast and tonal quality whilst providing texture that enhances the hand-produced illusion/aesthetic. This additional texture supplies more visual character and printed-quality 

which ultimately makes for a more effective, skilful resolution.

All of the above visual information is set on light grey ground which makes for an ultimately more harmonious resolution due to the tonal consistency. This also ensures the gaze remains focused the the centre of the design, the eye, as this is where the white, lightest sector of the piece is featured; Eyes are always drawn to the lightest part of any given composition.

Feedback received on the design cites that the resolution successfully and effectively reflects the track via colour, concept and simplicity.

OUGD406 - Secret 7 - Monoprinting

Following the final critique and confirmation of concept one as my final Secret 7 resolution, the opportunity to mono print became available today. I wanted to explore alternative texture to be supplied to the resolution after initial critiques for the concept showed concerns on the flat characteristic of the design. 

Having been previously introduced to the process and gaining experience on my foundation, I was informed on how to produce the prints. The process includes rolling out ink onto a print bed and then transferable sheet onto which stencils can be laid out compositionally before the design is put through  a press between a register sheet, stock, newsprint and packing - all of which determines pressure and results achieved.

Myself rolling out the blue ink required for mono printing.

In keeping with current concept one resolution's relevancy and effective communication of Chvrches' 'clearest blue,' I naturally selected blue ink as my printing medium, exploring packing and times sent through press to determine colour intensity, texture and tonal value.  

Print Bed during the process.

I produced a two circle stencil to produce each mono print as to provide myself with a large multiple of results and variations in texture to be explored. The outcomes from the printing session are evidenced below:

Monoprint Scans

After scanning in the outcomes, I perfected the circles of texture before supplying them to the concept one resolution. I also explored colour/tone combinations to ensure the most effective design could be identified. This exploration is exhibited below:

The tonal combination I have selected is that featured in the centre of the second row above. This combination best reflects the original contrast and tonal quality of the original, digitally rendered resolution whilst providing texture that enhances the hand-produced illusion/aesthetic. The

additional texture supplies more visual character and printed quality which ultimately

makes for a more effective, skilful resolution.

Final Secret 7 resolution:

OUGD406 - Secret 7 - Final Critique

Before the critique, it is required to provide each resolution with a 140 (max.) character design synopsis to be included in the Secret 7 submission. As with the resolutions themselves, the design influence prose should not divulge the track artist or name, but instead should concisely describe the inspirations/ideas behind the design(s). These are to follow:

Concept One

Amalgamating a range of processes, the artwork attempts to reflect a multitude of the song's lyrics via shape, form and limited colour.

Concept Two

Multiple processes make a resolution that exploits shape to create a distinct visual representation of the phrase 'eye of the storm.'

Concept Three

A singular colour in varying opacities represents the track name via a grid of tones that evoke multiple conceptual ideas and consideration.

Concept Four

Inspired by formation of clouds before a storm providing natural colour and idyllic representation via a shaped hand-made marble print.

Top Left: Concept 1, Top Right: Concept 3, Bottom Left: Concept 4, Bottom Right: Concept 4.

Critique

Which resolution do you feel is most effective and why?

• Marble circle because of its ambiguous and intriguing qualities.
• Circle marble print fits with album cover style but is also very aesthetically pleasing.
• The circles and eye design as it is well balanced, simple and considered.
• Marble cover is most effective as the texture mirrors feeling and context of the song.
• Eye with overlapped circles is very obvious and thus it is effective. The added shapes make it overall successful.
• Really nice work of the eye illustration. Works really well inside the two circles - I like how simple the design is.
• The overlapping circles and eye because of the appearance and composition.

Which concept/resolution do you feel most clearly represents the track and why?

• Concept One. Its the most obvious but doesn't give anything away.
• Number one as you can see how the lyrics have informed design decisions.
• One due to the colours used, shapes and eye.
• Aesthetic of concept one is most appropriate to the artist and track.
• Concept four because of shape and colour and concept.
• The eye inside the two circles. Its clearly about the Chvrches track because of its style.
• Number two because of reference to lyrics in song.

Additional Comments

• Really like the simplicity of all the designs.
• Nice range of distinct concepts.

Feedback Findings

This critique has enabled me to identify that overall the most effective resolution is that of concept one. Although concept four was also regarded as one of the most effective resolutions, ultimately I have discovered that concept one is the most effective in aesthetic and track representation - according to feedback. Its is considered that the design is the most lyrically informed with the most appropriate design decisions and therefore will be the design I submit as my contribution to the Secret & competition and potential exhibition if fortunate enough to be considered.

OUGD406 - Secret 7 - Concept Four

Concept Manifesto

Blue marbling signifies the development of clouds before a storm via idyllic visual representation - referencing the song's 'you were the perfect storm' lyric.

Before being in a position to meet the Secret 7 resolution requirements, I first needed to produce the blue marbled prints. This process, alongside the images used documenting it, can be found here:
https://uk.pinterest.com/pin/500814421043893614/

To produce the prints I needed to equip myself with the following:

• Shaving Foam
• Food Colouring
• Heavy White Card
• Masking Tape
• Paper Towl
• Ruler
• Large Spoon

The Process

Step 1: Firstly the heavy white card needed to be prepared for the process. This meant backing the edges of the back of the sheet with masking tape as to protect the immediate sides from potential exposure to the shaving foam during the printing process.

Step 2: With the paper prepared, the marbled shaving foam medium was ready to be mixed. A relatively thick layer of shaving foam needs to be supplied within a container large enough to fit

in the entire sheet of paper. Alternatively, the foam can be put out on to a wipeable surface.

Step 3: Blue food colouring should then be quickly and sparingly dropped into the shaving foam, which should then be folded/swirled delicately into the foam - being careful to not over-mix to maintain the marbling and not simply turn the shaving foam into a solid blue medium. 

Step 4: The earlier-prepared card should now be placed tape-side-up onto the foam, pressing down gently to ensure even contact is made between the foam and paper. The paper shouldn't be left in the medium for too long as this will result in the paper becoming too wet.

Step 5: Paper towels should be layed out before gently lifting the paper from the foam from one corner. This can now be placed tape side down on to the paper towels.

Step 6: Using a ruler, the excess foam can now be removed. To achieve the best results, this should be done through one large sweeping motion across the sheet from one of the corners. Any foam that may be left on/near the edges can be swept off with paper towel.

Step 7: With the print now produced, the paper needs to be set-aside, flat, to dry.

Step 8: To produce further prints, the marbled foam medium can be folded a few more times before repeating the process from step 4-7, or alternatively the excess foam from the first sheet can be delicately collected along the ruler before sweeping it across further prepared sheets of paper.

By following these steps, I was able to achieve the following blue-marble print successfully:

Marble Print Scan

This print can now be manipulated to form potential resolutions for the Secret 7 submission. The softness and swirling pattern produced through the print process provides representation of the formation of clouds before a storm through an idyllic aesthetic that bears relevance to the track's

lyric 'you were the perfect storm.' The light blue colour result further enhances the prints likeness

to clouds as of the sky being blue. As a result of the nature of the process, the prints produced are

also instilled with evident fluidity and spontaneity as the results can not be predetermined, compositionally, which effectively reflects the nature of storms/the weather. The marbling is

naturally occurring. 

The first potential resolution is a simple square crop of the original scan, meeting the 7x7" size specification for Secret 7 designs. 

Alternatively, another potential resolution sees the marble print in circular form, suggested via the white space that surrounds it. This design variation not only encapsulates all the connotation of the marble print alone, but also identifies itself with the track's lyrics 'shaped by the clearest blue' via 

the circle manipulation. 

Critique

What are your immediate thoughts when looking at the potential resolutions?

• Really like the marble circle one. Its intriguing.
• Its quite abstract so would be good for Secret 7 submission.
• Like the hand made print. Its visually pleasing, light and original.
• Really like the texture in the circle - suggests calm and harmony.
• Love the simplicity of the resolutions.

Do you prefer the full square or circular form? Why?

• The circular form - it looks more considered.
• Circle is more aesthetically pleasing.
• The circular one is beautiful and looks refined in comparison to the full square.
• I like the full square as it seems more ambiguous and you can see more of the print.
• I can't put my finger on why but the circular form design stands out more to me.
• Full square, seems a shame to lose the print.

Do you understand / are you able to identify the concept?

• I think the print looks like cloud so I assume its to do with the weather references in the track.
• My interpretation is that its about the calm quality of the colour blue.
• Formation of cloud/sky.
•  The circular resolution is about shape and the marbling is about the clear quality.
• Its not an obvious response but its good to be ambiguous.
• I think this represents the song best as a whole.

Feedback findings:

Through this feedback I have been able to identify that the preferred resolution is that that bears the circular form of marble print. It evokes speculation around context and concept, whilst the marble print is praised for its aesthetic quality.

OUGD406 - Secret 7 - Concept Three

Concept Manifesto

Overlapping translucent blue squares that build the intensity of blue into a compositionally central square, which shows the strongest/most intense blue within the resolution reflecting the song title. The geometric nature of this potential resolution also subtly established a visual connection to

elements of the band's artwork.

As with all potential Secret 7 resolutions, concept three started with a 7x7" CMYK colour mode canvas to ensure featured colours are eligible for accurate reproduction in print and in meeting the briefs specified requirements.

For purposes of precision and accuracy required for the effectiveness of this resolution, before considering the visual information itself, I had to prepare and divide the document into a 7x7
grid. With the guides in place, I began to develop the design by creating layers of blue, the first
with a larger surface area followed by gradual reduction in squares of the grid filled until a single, centrally located square is filled alone - this being the final layer. The four layers of colour provide the piece with 5 intensities of the hue, all of which can be seen as a result of the irregular shape (connection to lyrics 'shapes by the clearest blue') and layering featured. The singular middle 
square informs the concept of the resolution in that it is this square that bears the fullest, purest
blue - playing on the track title 'clearest blue.' Another interpretation being that the centre square 
is 'shaped by' the clearer (translucent) tones of blue.

The design bears only one colour, excluding the white ground, in 4 distinct opacities. These distinctions in light value give the appearance of depth, whilst also maintaining consistency, 

cohesion and harmony. The opacities are exhibited below:

A colour palette to be considered limited as an understatement, the featured tone of blue is PANTONE P Process Cyan U, for which values are exhibited below:

C: 100 M: 0 Y: 0 K: 0

The potential final concept three resolution is exhibited below:

Critique:

What are your immediate thoughts when looking at the resolution?

• Its quite ambiguous, nothing about the design suggests anything about the song other than the colour (blue).
• I really like the use of one colour in different translucencies, it shows the layers of the design.
• I like the simplicity of the shapes and the geometric aesthetic.
• It interesting to look at and see all the different tones of blue. I like that it isn't just a square shape as a whole.

Do you understand the concept?

• I think so, its obviously concerned with the intensities of blue and there being clearer tones - relevant to the track title.
• To me I see it that the centre square is meant to represent 'the clearest blue' because its the most concentrated colour (it is 100% blue).
• Not exactly but because I know its for 'clearest blue' I can guess the different shades are significant.
• I think it could be interpreted in a number of ways, its quite a diverse design because of how simple it is.

Additional Comments 

• Design works because of simplicity.
• Design is ambiguous so is good for Secret 7. 

OUGD406 - Secret 7 - Concept Two

Concept Manifesto

Playing on the lyrics 'You were the perfect storm,' this concept shows a blue eye 'caught inside' a cloud shaped ellipse to communicate the expression 'eye of the storm.' The imagery of a storm is enhanced by a lightening strike coming down from the cloud. The 'open eye,' simplified shapes

and visual elements come together to provide a complete 7x7" resolution that references the 

album title, track name and lyrical connotation. 

In keeping with the Secret 7 brief requirements and ensuring featured colours are eligible for accurate reproduction in print, the production of concept two needed to begin with a CMYK colour mode 7x7" canvas.

Beginning with the ground colour, I selected a dark shade of blue as to represent the dark sky typically associated with storms and provide an apt hue to the resolution that establishes its connection to the track title 'clearest blue.' With an appropriately set foundation, the next layer
I produced was to feature a white cloud. I formed the simple cloud shape through numerous overlapping circles, varying in scale with more randomised placement for an unsymmetrical,
more true-to-form visual representation. Following the formation of the cloud, I set the painted
eye used/produced initially for concept one centrally within to provide an element of depth and realism, as well as to communicate and reference the track name, album title and associated
lyrical connotation(s). Finally, I created a yellow lightening bolt striking down from the cloud.
This enhances the visual implication of a storm whilst creating tonal energy via the contrast
created through the blue and yellow hues. The resolution is an amalgamation of basic,
simplified shapes and visual representations that create an aesthetic akin to a collage. The 
simplicity and clean lines of the design are appropriate to the phrase 'eye of the storm' as it is
said that it is calm in the eye of the storm, despite the destruction they cause.

The featured colour palette most notably includes the following pantone tones/shades:

PANTONE Colour Values:

PANTONE P 103-16 C

C: 79

M: 74

Y: 0

K: 47

PANTONE Process Yellow U

C: 0

M: 0

Y: 100

K: 0

Other colours featured are communicated through the eye, which was painted with the following tones/shades:

• Phthalo Blue.
• Prussian Blue.
• Ultramarine.
• Cobalt Blue.
• Cerulean Blue.
• Mixed variations of the above.

The potential concept two resolution is exhibited below:

Critique

What are your initial thoughts when looking at this design?

• I think it works because its simple. Its very distinctive and bold.
• The eye really keeps focus on the design, its difficult to look away from.
• Its very intense because of the eye and dark colours, though there is contrast.

Do you feel the 'eye of the storm' phrase/concept is clearly communicated?

• Yes, the lightening strike helps to establish the connection to storms, which with the eye becomes clear. 
• I think its obviously communicated but thats why the design works.
• I didn't get it immediately but after a few minutes it came to me.

Do you feel the limited colour palette enhances the design? Are the colours relevant?

• The design has quite a lot of contrast from the white and deep blue, which it relevant to storms. The addition of the bright yellow gives the design more energy and statement.
• I think the limited colour palette works because of the yellow. It makes it a little bit harder to guess the song because its not all blue, which you would expect for the song.
• Yes, there is cohesion between the eye and background whilst the lightening bolt creates more variation.

Additional comments

• Really like the simplicity
• Eye illustration is nice

OUGD406 - Secret 7 - Concept One Critique

Following PANTONE colour refinement, I require feedback on which of these four possible concept one resolutions could potentially be submitted as a final Secret 7 submission piece. 

Feedback received through the critique is as follows:

Looking at the four design variations here, which do you feel is the most effective and why?

• The design with the plain grey background appears the most effective. The white background looks less complete and the arrow patterns seem unnecessary and busy to me.
• The grey background works in harmony with the blue tones you have used. The arrow pattern is nice but distracting.
• I don't think the arrows add anything to the design, so either of the plain background resolutions.
• I think the solid light grey background design is the most effective. Its simple but strong and uncomplicated (visually).

Would there be anything further I could do to this resolution?

• The block blue circles could benefit from a texture so they aren't so flat like the background.
• Explore mono-printing.

Additional comments:

• Really like the eye.
• Represents the song well.

Feedback findings:

•  Resolution with solid light grey background is most effective.
• Arrow/directional pattern is too busy and distracting from the primary visual information.
• Potential to explore mono-prinitng/further additions of texture. 

Having spent quite some time exploring concept one and reaching a point of successfully identifying a potential final resolution, I feel it is now time to investigate alternate concepts, although this critique has provided me with possibility for extension/further development.

OUGD406 - Secret 7 - Concept One Colour Refinement

Before subjecting the potential concept one resolutions to critique, I want to ensure the featured colours are as accurate as possible and also print compatible to the highest degree.

Below is the refined colour swatch using the PANTONE colour system used in print.

CMYK Values for each colour are documented below:

PANTONE P 115-5 U

C: 51
M: 0
Y: 0
K: 0

PANTONE P 104-8 U

C: 100
M: 68
Y: 0
K: 0

PANTONE P 179-2 U

C: 0
M: 0
Y: 0
K: 11

PANTONE P 179-8 U

C: 0
M: 0
Y: 0
K: 54

OUGD406 - Secret 7 - Concept One Progression

Having produced a painting of a blue eye to provide the concept one resolution with greater depth and distinction following critique feedback, I exchanged the original simplistic, digitally rendered eye element with the newly painted visual information. The design before and after this exchange can be seen below:

Original/Initial Resolution

Updated Resolution

As can be seen above, the addition of the painted eye drastically impacts the perception of the design. Once flat and lacking distinction, the painted eye now holds the gaze as a result of its captivating realism, making for a more engaging design. As a result of the range of tones/shades present within the eye, both circular forms that surround the eye are cohesively made complimentary to the design as a whole, bringing the individual visual information together as one via consistent use of hue.

Though the resolution I believe has been significantly improved, the overall aesthetic remains visually unfinished. In an attempt to resolve this, I plan to explore alternative ground possibilities that further explore the design context to potentially enhance the resolution.

Initially I opted for a simple change in ground colour, from white to light grey. This softened the stark aesthetic of the design, whilst also creating a greater centre-focus on the eye due to the gaze's natural instinct to be drawn to the lightest element of visual information within a composition, this being the white ellipse around the eye and reflection of light crossing the pupil and iris. The change in ground makes for an ultimately more harmonious resolution. 

Next, I wanted to incorporate a visual representation of lyrics identified in the initial exploration of the song, these being 'just another time that I go down, but you were keeping up.' The Chvrches 

song features an abundance of visual imagery concerning movement and direction, something 

that could potentially be reflected through the design also. Considering this, I supplied the 

resolution with a repetitive pattern I created using columns of simple arrows alternating 

in direction between up and down. 

In order to maintain the tonal harmony of the design and in attempt for the ground pattern to not be overpowering or distracting from the primary visual information, I set the directional arrow pattern in a slightly darker shade of grey. This subtly communicates the directional lyric connotation that can be found in the 'clearest blue' track.

Here, I also explored the grey directional pattern on white ground for purely for motives of experimentation to be critiqued as a potential variation of the concept one resolution. 

Though I will put each variation of this resolution to critique to identify which is considered most effective by others, my thoughts after this episode of progression/experimentation are that whilst 

the change in ground colour from white to grey creates a more refined resolution, the directional pattern -whilst informed - complexifies the design and is a distraction from what is ultimately the most significant piece of visual information.

OUGD406 - Secret 7 - Concept One Development

After a critique on the initial exploration into concept one, I found that the design is currently too flat and obviously digital, lacking depth and distinction. Though people found the concept and initial composition of shapes effective in their simplicity in conjunction with a strong tonal contrast,
it was suggested that I explore detail through the eye to enhance depth and evidence
of process.

One suggestion I favoured was to paint the eye, a medium suggested in the initial concepts and ideas critique previously also. Although I have not proficiently practiced painting since my GCSE Fine Art experience, I was confident I would be able to produce something to an acceptable standard. Water-colour is my selected paint medium as I believe it provides maximum opportunity for blending and tone/shade variation as a result of its quality.

In order to achieve depth and detail I used a range of base colours, including Phthalo Blue, Prussian Blue, Ultramarine, Cobalt Blue and Cerulean Blue, as well as mixed variations to provide a plethora of tones and shades that would allow me to effectively portray the fine detail of an eye. I also used various brush weights and sizes to create differentiating textures/qualities of line.

I began by using a drawing compass to create a circular perimeter in which the eye would be painted. I then painted a base blue covering the total area, followed by shading and blending around the edge to produce a 3 dimensional sphere aesthetic, as well as additional shading at the top where the shadow from the eyelid would typically be. This instills depth and form to the painting, and
in turn eventually the concept one resolution.

Next, I supplied the eye with its black pupil and lighter textural surround trying to capture the distinct appearance of an eye. This was followed by fine lines around the iris to replicate the extreme intricacy of an eye in a simplified application.

Finally, I added a block of brilliant white to mirror a basic reflection of light in the eye, overlapping both the pupil and iris. The now complete painting now has the potential to enhance the initial concept one design, allowing it to overcome its flat, digital and indistinct visual demeanour.

OUGD406 - Secret 7 - Concept One

Concept Manifesto

Two overlapping circles creating a centralised ellipse, in which there is a blue eye. This design will make reference to not only the track name, 'clearest blue,' but also the album name 'Every Open Eye.' Connections are established through colour, imagery and song lyrics. The eye represents the act of being able to see clearly, whilst the interconnected circles play on the lyrics 'shaped by the clearest blue' through the presence of circles - which also subtly links back to the geometric visual identity used by the band in their artwork and promotional material. Other lyrics informing the design include 'caught inside' as the eye sits within the space created by the overlapped circles, which also address the notion of 'meeting halfway.'

Before production of the concept one resolution could begin, I needed to ensure my document canvas was 7x7" and using a CMYK colour mode as to adhere to the Secret 7 brief requirements and ensure featured colours are eligible for accurate reproduction in print.

I began to construct the concept one resolution using circles to form and develop the design. The overlapping sector is removed from two circles, leaving a pointed-ellipse shape reminiscent of the typical framing of the eye from the lids, creating space in which the blue eye can sit centrally as
the focus point of the composition and visual information as a whole. The eye is formed via three circles, alternating in size to provide clear distinction in representing the iris, pupil and reflection
of light for the most basic, simplified result.

The colour palette bears cyan blue in three differentiating light values/intensities to establish consistency of colour, tonal cohesion and a bright, energetic aesthetic.

Although the colour palette may be tonally consistent, the distinction in the elements of visual information present in the design is lacking. I feel a greater tonal energy needs to be introduced 

via increased contrast to aid the prominence of each individual shape and provide the resolution 

with enhanced energy. To resolve this, I changed the Light Cyan Blue to a darker shade of blue, instead opting for Pure blue. By exchanging these colours, the tonal contrast and energy of the

design is enriched, making for a more distinct design with greater visual prominence.

At this point in the development of the concept one potential resolution, I feel it is important to receive feedback on the design so far as to discover possibilities for progression and enhancement 

of  effectiveness.

Critique

What are your immediate thoughts when looking at this initial design?

• To me it looks much too flat, its very digital - perhaps too obviously digital. I like how the circles form the eye through the negative space though.
• I think the use of shape/circles to produce the design is nice, and it reflects the song, but it needs something to make it less solid.
• Design is very flat and simplistic - there is no depth.
• As a starting point I can see how it could be developed into something very effective. Its a strong concept, but needs work. The composition of shapes you have produced work nicely.

What could be done to improve the design and/or make it more effective? Please provide suggestions.

• Focus on making the eye really stand out - perhaps a more realistic representation.
• Try to make the design less flat by adding textures or alternate processes - maybe paint or printing?
• If you feel able to, paint a more detailed eye to contrast the flat blue circles. Make a real point of focus.
• Show more skill and process to make the design less simplistic and digital.

Additional Comments

• Use contrasting techniques/processes to diversify your design.

This critique has allowed me to identify that the design is currently too flat and obviously digital, lacking depth and distinction. Though people found the concept and initial composition of shapes effective in their simplicity in conjunction with a strong tonal contrast, it has been suggested that I explore detail through the eye to enhance depth and evidence of process.