Triptych - Visual Development & Concept/Delivery Refinment & Production
Visual development
Use the numbers 6 6 6 to represent evil and angel wings and the cross to show religious prophecies as a means of repurposing religion, add texture and color additions with supporting iconography repurposed from visual elements of the apocalypse tapestry. A completley vector and type re-intepritation of religion and the balance of good and evil.
The serpent is a connotation for evil, create a hand rendered 6 6 6 from the shape of this with a digital typographic counterpart to work on the idea of old and new.
Digitally print a large number of panels that carry iconography that represent elements of the apocalypse tapestrey, screen print over some dates from predicted doomsday theories, and hand render abstract patterns to support this chaotic layering of 3 process's.
Use a transition from type to iconography to both support context of the overall meaning bur reference the transition investigated in COP from text to emojis.
Use a black letter font with a quote from the bible as a main carrier for the religious content.
Use the definition of apocalyptic and a time scale of all predicted doomsday theories to add context to these predictions.
Full bleed photos meeting the edge of the paper acting as frames to lock in iconography with a background of a mass of text from a quote from the bible.
Use aggressive and smooth patterns to show the transition of good end evil, allowing color to carry more sinister looks and feels.
Use 90 panels of repurposed type, icon, pattern, color and photographs to represent the 90 panels of the apocalypse tapestry. Screen print overlay with modern day ideas of war and violence, quotes from the news etc.
Work on ideas of dark and light to show good and evil.
Ornate iconography to give that traditional renaissance religions feel that resonates perfect with religion.
I began to generate 90 icons to reference this idea of repurposing the traditional apocalypse tapestry with new ideas of disaster, violence and sinister events.
Floods through use of pattern with line.
Fire through hand drawn and robust cut out shapes.
Cut and paste outline of the castle from the apocalypse tapestry.
Comets through contrasting small and large circles with line and dot based patterns.
Axis alignment through the use of simple line and circle.
Ornate cross.
Re-puprose the dragons heads with the use of contrasting black and white circles.
Bullets for american gun crime.
Radiation for nuclear war.
Syrian Map.
Chaos asthetic.
Take color from apocalypse tapestry.
Take a quote from the book of revelations.
Modern interpretations of chaos.
Scan in a page of bible and create a digital more abstract type repurpose showing the potential of design software.
Use dates of predicted doomsday theories.
Use the numbers 6 6 6 to represent evil and angel wings and the cross to show religious prophecies as a means of repurposing religion, add texture and color additions with supporting iconography repurposed from visual elements of the apocalypse tapestry. A completley vector and type re-intepritation of religion and the balance of good and evil.
The serpent is a connotation for evil, create a hand rendered 6 6 6 from the shape of this with a digital typographic counterpart to work on the idea of old and new.
Digitally print a large number of panels that carry iconography that represent elements of the apocalypse tapestrey, screen print over some dates from predicted doomsday theories, and hand render abstract patterns to support this chaotic layering of 3 process's.
Use a transition from type to iconography to both support context of the overall meaning bur reference the transition investigated in COP from text to emojis.
Use a black letter font with a quote from the bible as a main carrier for the religious content.
Use the definition of apocalyptic and a time scale of all predicted doomsday theories to add context to these predictions.
Full bleed photos meeting the edge of the paper acting as frames to lock in iconography with a background of a mass of text from a quote from the bible.
Use aggressive and smooth patterns to show the transition of good end evil, allowing color to carry more sinister looks and feels.
Use 90 panels of repurposed type, icon, pattern, color and photographs to represent the 90 panels of the apocalypse tapestry. Screen print overlay with modern day ideas of war and violence, quotes from the news etc.
Work on ideas of dark and light to show good and evil.
Ornate iconography to give that traditional renaissance religions feel that resonates perfect with religion.
I began to generate 90 icons to reference this idea of repurposing the traditional apocalypse tapestry with new ideas of disaster, violence and sinister events.
Floods through use of pattern with line.
Fire through hand drawn and robust cut out shapes.
Cut and paste outline of the castle from the apocalypse tapestry.
Comets through contrasting small and large circles with line and dot based patterns.
Axis alignment through the use of simple line and circle.
Ornate cross.
Re-puprose the dragons heads with the use of contrasting black and white circles.
Bullets for american gun crime.
Radiation for nuclear war.
Syrian Map.
Deconstruct the word piece, changing the meaning of the word. Giving it a broken feel, a feeling of no hope which will support the whole apocalypse feel and allow the carry of an additional print finish or pattern that helps connote ideas of good and evil.
Use pattern taken from the tapestry, ornate delicate shapes repeated too make textures too apply to iconography that strengthens an idea.
Use broken up typography to emulate the idea of chaos.
Chaos asthetic.
Take color from apocalypse tapestry.
Take a quote from the book of revelations.
Modern interpretations of chaos.
Scan in a page of bible and create a digital more abstract type repurpose showing the potential of design software.
Use dates of predicted doomsday theories.
Digital Development
Began digitally representing 90 icons that show a digital repurposing of religious beliefs, planning on including them all as one big design outcome.
The halftone gradient has a digital aesthetic too it, and would allow it to be screenprinted.
Using an ornate black letter to maintain religious connotations and link back too the the original letterpress type used in the Gutenberg, playing around with positioning and use of negative space the centre justified worked the best as it reference the layout possibilities with the Gutenberg while the outline added that digital vibe supported by the modern sans serif quire sans.
Playing around with a basic structure to act as a background for the overlay of other visual elements using other print process's. The use of the negative space block patterns used the Syrian map and the chaos horse in the apocalypse tapestry to add a visual impact and act as a base pattern to apply the dates of predicted doomsday theories over the top.
Presenting the dates an left and right justification created a sense of movement which works for the context of chaos while the date on the left locks everything into place, the use of clay red comes from the apocalypse tapestry.
The date works a lot better and neater justified to the right, making the type and image feel a lot more structured and balanced within the base design. Tried out layering the APOCALYPTIC over the pages so it feels locked in context with the pages content.
Bringing in the colors from the tapestry in dulled down desaturated tones, creating more of a conceptual link but it doesn't look very sinister it looks quite light hearted. I wanted to make some kind of juxtaposition but this felt a little cartoony and the addition of the negative space cut outs strengthen this cartoony feel with the religious symbols adding quite a cliche look and feel.
SCRAP THIS.
Bringing in iconography that reflects modern world issues and digital repurposed elements from the tapestry dulling down the colors even more helped lose this cartoony feel but the composition didnt work. The grainy screen distortion effect certainly brought in a nice digital vibe though which works well with the digital iconography.
Using simple repeated shapes to create patterns, using these shapes to make the iconography as well as the pattern makes them feel more of a set, I didnt want lots of complex imagery within the composition just repeated elements in different ways to achieve different effects.
Syrian map, works better as a positive as it has more visual impact, as a negative it has a feeling of it been a sort of flame type shape and not a map.
Breaking up the word Apocalyptic into deconstructed elements, this supports the deconstructed layout to overlay with a subtle print finish possibly UV. Adding further context and meaning too the idea of chaos.
Starting too add all my past elements together, the more desaturated tones are working better, the green supports the idea of military while the three time repeated 6 and cross resonate with the 3 process idea and add the idea of good and evil. The layout from corner to corner supports this transition.
Making the page smaller balances out the visual elements a little more but the mass of colors isn't working very well. Adding a political figure who is responsible for messing up and causing more problems ad a tongue in cheek nod to political figures causing chaos.
Desaturating all the work, a monochrome scheme to show print limitations with CMYK elements applied over the top using screen print as a reference to traditional and digital process's. The monochrome scheme has a colder feel too it to suit the sinister feel but the CMYK feels too childish.
Stripping back all the color and adding gradients is starting to create a balance of color, the gradients have a very technological vibe too them and contrast nicely with the simplicity of the vector imagery and structured aligned type.
Beginning to add imagery that adds photographic reference too the idea of the design been a digital repurposed apocalypse, the modular grid helps everything feel structured while referencing pixels to show the print to digital transition. Reversing out, outlining and changing the contrast and black and white interactions in the calendar dates helps maintain the tonal balance of black and white to work with the idea of good and bad.
Offset the photos to contrast with the structured layout as they are separate entities, the iconography are digital repurposed elements inspired by the tapestry they work alongside not together.
Adding gradients in different variations to add the CMYK feel, the focus isn't to focus attention on the transition this is just part of my methodology, so I will just stick with a monochrome scheme. Tried out a blackletter face but this took the feeling of structure away due to the curved aesthetic, didn't work with the accuracy of the iconography and balanced layout and use of tone.
Production
One of the key focus's was 3 process's, the digital print supporting the digital image repurposing of the traditional apocalypse tapestry.
Screen printed metallic UV over the top with the deconstructed word apocalyptic, the use of metallic UV ink is a nod towards the influence of technology within a traditional print process. This subtle print finish supported the monochrome scheme and the slight grey tone worked with the stark darkness of the photos of the apocalypse tapestry too add further meaning overall.
Trying out the repeated word Apocalyptic with the letters "pytpic" outlines as they resonate with the word triptych with a page from the book of revelations repurposed in digital to represent a transition from the original printed page. This adds conceptual context too the base design further supported by the use of agincourt blackletter font to further connote religion.
The date works a lot better and neater justified to the right, making the type and image feel a lot more structured and balanced within the base design. Tried out layering the APOCALYPTIC over the pages so it feels locked in context with the pages content.
Bringing in the colors from the tapestry in dulled down desaturated tones, creating more of a conceptual link but it doesn't look very sinister it looks quite light hearted. I wanted to make some kind of juxtaposition but this felt a little cartoony and the addition of the negative space cut outs strengthen this cartoony feel with the religious symbols adding quite a cliche look and feel.
SCRAP THIS.
Bringing in iconography that reflects modern world issues and digital repurposed elements from the tapestry dulling down the colors even more helped lose this cartoony feel but the composition didnt work. The grainy screen distortion effect certainly brought in a nice digital vibe though which works well with the digital iconography.
Using simple repeated shapes to create patterns, using these shapes to make the iconography as well as the pattern makes them feel more of a set, I didnt want lots of complex imagery within the composition just repeated elements in different ways to achieve different effects.
Syrian map, works better as a positive as it has more visual impact, as a negative it has a feeling of it been a sort of flame type shape and not a map.
Repeating the word Apocalyptic, each word resonates with amount of doomsday theory predictions, the vector images are digital repurposed elements from the doomsday theories like the comets and re-aligning of the worlds axis, the 7 headed dragon from the apocalypse tapestry and the Syrian map.
The mass of words centre justified referenced the limited typesetting of letter press while acting as a main structure for adding further visual elements to support the concept.
Breaking up the word Apocalyptic into deconstructed elements, this supports the deconstructed layout to overlay with a subtle print finish possibly UV. Adding further context and meaning too the idea of chaos.
Starting too add all my past elements together, the more desaturated tones are working better, the green supports the idea of military while the three time repeated 6 and cross resonate with the 3 process idea and add the idea of good and evil. The layout from corner to corner supports this transition.
Making the page smaller balances out the visual elements a little more but the mass of colors isn't working very well. Adding a political figure who is responsible for messing up and causing more problems ad a tongue in cheek nod to political figures causing chaos.
Desaturating all the work, a monochrome scheme to show print limitations with CMYK elements applied over the top using screen print as a reference to traditional and digital process's. The monochrome scheme has a colder feel too it to suit the sinister feel but the CMYK feels too childish.
Stripping back all the color and adding gradients is starting to create a balance of color, the gradients have a very technological vibe too them and contrast nicely with the simplicity of the vector imagery and structured aligned type.
Beginning to add imagery that adds photographic reference too the idea of the design been a digital repurposed apocalypse, the modular grid helps everything feel structured while referencing pixels to show the print to digital transition. Reversing out, outlining and changing the contrast and black and white interactions in the calendar dates helps maintain the tonal balance of black and white to work with the idea of good and bad.
Offset the photos to contrast with the structured layout as they are separate entities, the iconography are digital repurposed elements inspired by the tapestry they work alongside not together.
Adding gradients in different variations to add the CMYK feel, the focus isn't to focus attention on the transition this is just part of my methodology, so I will just stick with a monochrome scheme. Tried out a blackletter face but this took the feeling of structure away due to the curved aesthetic, didn't work with the accuracy of the iconography and balanced layout and use of tone.
Production
One of the key focus's was 3 process's, the digital print supporting the digital image repurposing of the traditional apocalypse tapestry.
Used a posca to reference hand rendering within posters to scribble out the false predicted doomsday predictions.
Screen printed metallic UV over the top with the deconstructed word apocalyptic, the use of metallic UV ink is a nod towards the influence of technology within a traditional print process. This subtle print finish supported the monochrome scheme and the slight grey tone worked with the stark darkness of the photos of the apocalypse tapestry too add further meaning overall.
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