Penguin Design Award - Finals, Rationale & Evaluation

Penguin Design Award - Finals, Rationale & Evaluation

Concept
Use typography and iconography to reference key points of the books content ranging from the Nardast narrating style too the violent activities of the book visualised within an outcome that transitions from deconstruction to structure as a reference to the characters changing behaviour following guidelines inspired by a grid that references 21 split up into 3 sections of 7. A symbol of maturity and a key concept behind the books original chapter format.

Finals & Rationale
The final resolution uses a custom uppercase soviet style sans serif font contained within circular and angular shapes as a reference to constructivist artwork but also to show a transition from good to bad within the contrast of angles and curves while the use of rough edge triangles on the page edges support this constructivism feel while also showing a digital interpretation of a photocopied page to support my methodology of print to digital process's. The rusty orange colour is an expansion of the idea of pastiche used within the visual delivery of the concept, a literal representation of the books name and a repurposing of the iconic original book covers that use this colour.

Gradients, tonal contrasts, deconstruction and structure, contrasting shapes used throughout all work to show a transition of the main characters behaviour while iconography references key aspects of the book like the top hat & monocle attire and the 4 characters with the singling out of the main character with the overall 21 visual elements tying together the idea of 21 been a symbol of maturity. A main concept behind the original book. 

Evaluation

This brief was successful in terms of it been the first substantial brief and the first competition brief of the year, it was good to get back into making custom typefaces to fit a specific purpose adding further context and meaning to a design resolution. In terms of layout I think I have managed to maintain a balance between something quite abstract and deconstructed that can be appreciated as a purely visual piece but also something that is understandable and legible. 

Concept wise I think the idea was strong and delivered very well, I learnt from last years Penguin to keep concepts quite simple so as to focus on delivering the idea within a variety of visual elements rather than a mash up of loads of different ideas. 

Creating a time plan and a project proposal has helped me fully utilize each design process and each stage has fed into the other resulting in a well informed resolution that took into account an in-depth body of research and thorough development, if I was to do this brief again I think I may have focused more on the inclusion of iconography, as this could have really supported the custom typeface as the icons where made from the same simple circular and angular shapes from the typeface. 

It was unfortunate I couldn't do both covers but as mentioned in my intentions I wanted to fully develop one idea rather than creating 2 mediocre resolutions. 

Boards

Penguin Design Award - Final Developments & Production

Penguin Design Award - Final Developments & Production

Digital developments
Expanding on the idea of repurposing a typeface to reference Russian Constructivist & Soviet ideals I began to design my own typeface including the ideas of basic square shapes and contrasting curves, this way the transition from good to bad could be subtly applied to the key focus of the brief. The use of typography. 

The addition of angular ligatures, ornaments, extensions and the reversing of type helped further support the visual representation of Russian constructivism. 

A 3D effect was achieved by doubling up the glyphs, this added a physical feel to the typography making all aspects of the book feel real as a touch point expansion of adding colour and reality to the books textual content.

A feeling of chaos and order was achieved by breaking up the glyphs and words within a structured grid, the typography is the main focus of the design so it holding a concept relating to the books content is important but it also needs to be readable and legible, the vertical alignments are OK in a sense but there needs to be a better element of readability within the design.

Still using the typography as a key delivery for the concept a few layouts where tried to expand on the idea of deconstruction and construction with the legible and easy digestion of the text. The balance was all off though and it was clear there needed to be other visual elements added to tie the whole design together as one, everything felt too loose. Adding colour was a starting point, taking pastel shades from key constructivist work but this felt too childish in small additions like this. 

To maintain the raw feel monochrome schemes where brought back, the fading of tones also helped add to the feeling of a transition of behaviour. A key touchpoint of the concept. Keeping everything centre aligned help maintain legibility and this layout had a very traditional bookish feel, something important when transitioning from traditional print/publishing distribution to digital publishing limitations. An important consideration within my methodology. 

Angling the individual glyphs is something common in soviet and constructivism work and bunching the letters together then deconstructed the way they are positioned strengthened the idea of deconstruction and construction, or chaos and order to represent the behavioural transition. While also bringing motion into the design within how everything positioned and the eye reads the separate elements.

The black background and white type has impact, an important aspect of the brief but combined with the layout of the glyphs and words legibility and digestion of information is an issue again. 

The positioning of the text and the shapes they make work well though if these where to be placed into shapes.

Bringing back the pastel shades using the colour blocks using the contrasting colours and tones, still looks childish a connotation that really doesn't suit the book, the layout of the text as a text only design works well though and balances well within the page layout. 

Taking strong influence from El Lissitsky use of circles and abstract alignments of type this design represents the 4 main characters from a birds eye view with there top hats on, the fading tone represents the alienation of the 1 character while also showing a change of behaviours as a secondary support concept. 

The use of contrasting curved shapes and angular shapes works well with and compliments the typefaces contrast of sharp and curved, acting as containers that provide a structured feel within a deconstructed layout. Without them the words feel lost and the idea of chaos is too strong, the contrasting tone further supports the idea of a transition while the alternative angles and positioning of the type has an abstract aesthetic that supports the overall look and feel of the book. 

Production
The grid system helps create structure when playing around with alternative alignments of the text content to maintain a feeling of structure. Bringing in warped images to visualise elements of the book, like religion and the idea of a warped mindset of the main character. 

Bringing in the idea of a physical page in a digital repurposed way, adding corners to the page makes it look like an offset page, bringing in the idea of technology and traditional print but also the triangles add a further constructivist feel with the angled quote further supporting this idea. 

The neutral tones have a very industrial and robust feel, something quite important when considering the urban setting. The greys and monochromes have that futuristic feel to support the era the book is set in.

The addition of texture within a monochrome layout supports the gritty feel of the book, the addition of the 4 circles was brought back to represent the characters with the white contrasting circle symbolising the alienation of the main character.

Each visual element lines up with another, be it in the grid or the background lining up with foreground shapes, this brings the idea of chaos into something more structured.

The idea of contrasting the back and front cover from structure to chaos is shown here with the minimal addition of visual elements, while the addition of gradient adds further visual reference to a transition of behaviour. 

Key visual icons where brought in like the top hat and top hat all created using the same simple shapes found throughout the design, there are 21 visual elements within the design to represent the number 21, the symbol of maturity. A finishing point for the transition of behaviour from bad to good.

The altering alignment, angles and positioning of type further show the change and warping of perspective and behaviour throughout the book.

Playing with colours that represent Russian constructivism, feedback suggested the green and red. The blue and yellow feel too contemporary and futuristic, there needs to be a balance between the old and the new. 

Penguin Design Award - Refined Contextual Idea Refinement/Concept & Visual Scamps

Penguin Design Award - Refined Contextual Idea Refinement/Concept & Visual Scamps 

Concept

Incorporating my initial ideas with ideas gathered from my collation of research a set concept has been developed to give me more direction when creating visual responses to the briefs initial problem and a way of combining and developing on key points and ideas at current. 

Use typography and iconography to reference key points of the books content ranging from the Nardast narrating style too the violent activities of the book visualised within an outcome that transitions from deconstruction to structure as a reference to the characters changing behaviour following guidelines inspired by a grid that references 21 split up into 3 sections of 7. A symbol of maturity and a key concept behind the books original chapter format. 

Rough Scamps
Work on the idea of from texture to smooth, maybe from analogue to digital vector to show the transition of bad to good.

Focus on the milkbar, the drugged milk is the main influence for bad behaviour so creating visual references of this would be a good start for the concept delivery. Abstract patterns will further support the psychedelic effects of the drug laces milk. 

The use of technology and hands on process's will also work with the idea of this old book been set in a futuristic setting, to show the idea of transition. 

Iconic points to reference the Nardast narating style would be to take influence from soviet asthetics within there deconstructed layouts, use of red & black, the grunge style typefaces and the use of angles.

Use symbols and iconography to symbolise Cockney and Russian aspects. 

Using deconstructed layout, skewed angles, the use of lines/grids help show a transition from bad to good through a contrast of structure and deconstruction. 

Working with 3 sections of 7 with single glyphs and iconography, this grid also represents prison bars a key scene in the book. 

Gradients could be used to show a transition and also add an abstract look and feel. 

Playing with a contrasting front and back cover, from constructed abstract shapes too a complete deconstruction to show the behavioural change, these shapes will contain patterns, gradients, iconography to represent the grittiness of the books content, visual references of aspects of the book and a behavioural transition from good to bad. 

Use scanned in photos, wood textures, paint, spray paint as a starting point, the other design will then contrast with clean, digital vector reinterpretations of these images. This also meets my requirements for using a transition of traditional, analogue and digital mediums to represent the era of the book and the futuristic setting aswell as my COP.

Repurposing a typeface into a soviet style, adding angled edges and squared off terminals and deconstructing the words within an abstract layout. This use of angles would also reference pixels to bring in the digital vibe. 

To show motion and change the use of lines, arrows and curves will add context to the idea of a behavioural change but also add movement to the aesthetic as the books textual content is very colourfull and needs a design that can bring out this rather than just producing a flat design that doesn't connote anything about the book.

Balance ideas of good and bad through curves and angles within typeface manipulation.

Fading colors, from bright tones to neutral tones. 

Contrasting size and type weights. 

Bringing in the idea of literal iconography representations that encompass elements like color application, pattern, texture, shape etc as a means of showing the behavioural transition. 

Starting to look at the idea of Russian constructivism style as a literal representation of the Nadist narrating. The deconstructed style from 1910 - 40s has a very deconstructed feel that could be given a certain order to show a transition from bad to good while also having a very gritty robust look and feel that represents the books contents perfectly. 

Refined visual scamp systems

Taking key points from rough scamps visual systems have been generated to develop from digitally and analogue if needs be. Concentrating on the application of the concept with a focus on Type, Shape, Layout, Texture and Colour considerations. 

Expanding on the Russian constructivism style, the DADA period of deconstruction, futurism and the avantgarde period with the application if imagery that references digital and physical print process's like the idea of digitally representing photocopy process's, sheets of paper, and texture. 

The idea of pastiche within these old art movements will help me create a transition between the old and the new supported by the transition of print and digital process all supporting the transition of good to bad behaviour.

PT Serif is a Russian designed serif with aesthetics that share British values, this could be used when it comes to repurposing the typeface relevant to the concept delivery and fed in further idea generation.

The idea of warping imagery that references music notes shows how the main character was warped and brain washed by the playing of classical music. 

Deconstructing the words of the title on rectangles, squares, semi circles etc has a very constructivist feel and a feeling of chaos can be created through abstract layouts but also an element of order can still be achieved through the clean, structured application of the typography within these shapes. A balance between chaos and order to reference the main concept point of a behavioural transition. 

Bring in religious iconography to show how religion started to change the characters behaviour, the simple use of lines in different weights can show progression, from heavy to light for example. 

Create a stripped back icon of the top hat and monocle to suit the chaotic and structured balance, this is a key visual touch point of the books content. The main attire of the characters. Expanding on this idea of using simple shapes to show a transition this could be represented through angled shapes to curved shapes, using circles and squares as a container for text and iconography.

The use of 4 circles as a key reference to the main characters, a birds eye view of them and there top hats, stacked together with a fading gradient, pattern or colour application to show the behavioral transition of them all but also how the main character is alienated by them all towards the end of the book.

Expanding on the idea of using angled and soft shapes a base pattern for the application of typography, iconography, pattern, texture and more shapes has been developed. Bringing in ideas of showing how the idea of scanning in a piece of paper can be digital presented through the use of offset angle rectangles. 

The spine will always be simple and clean to work as a reflection point between the front and back of the book. The transitional point so to speak. 

Further ideas of how digital imagery can reference physical things, playing around with digitally made textures or scanned in analogue textures that could then be digitally repurposed. 

Glitchy effects supports my technological print based process while also referencing the futuristic setting, same with the warping ideas but with the addition of further supporting behaviour changes.

Pixelation, photocopy, layering all tried out in digital icon ideas. Maybe play around with actually using the scanner and photocopy with some analogue mediums then digital repurposing them.