Speak Out Against Fur Unit One: AS Graphic Design To complete your unit one portfolio of work, you have been invited to participate in the Fur Free Alliances 9th annual campaign Poster Design competition. Kim Atkins

Chichester College

Speak Out Against Fur AS Graphic Design

ASSESSMENT OBJECTIVES By the end of the Unit you should be able to:

• Identify and select primary and other sources as examples of graphic image making. • Explore the potential of traditional and digital media to develop ideas for graphic image

outcomes. • Use traditional and digital media safely to produce graphic image outcomes. • Develop, review and present techniques and processes used. • Investigate the design contexts, opportunities & constraints of a brief. • Develop ideas into final graphic designs • Present final graphic designs for Information

Graphics applications Students As a compassionate designer, you can make a real difference for millions of animals, and we invite you to participate in this important design competition with a conscience.

Design a creative, compelling campaign poster or animation that delivers the compassionate message that the wearing of fur is cruel and unnecessary. We want the modern world to celebrate all animals and not victimize them by killing them to wear their skins - and we want you to help us make that happen.

Your work will be evaluated by design and marketing experts and potentially used in national and international campaigns to end the cruel fur trade. There are cash prizes and all winners and commended students will receive certificates for their portfolios. Winning work will be promoted on a range of national and international sites, in exhibitions and online galleries.

• Entry to both the campaign poster (or animation) competitions is completely free of charge

• Registration closes: 1 April 2012 • Artwork to be submitted by: 15 April 2011 (your hand in date for completed project 20th

January 2012)

Outcome 1. A3 Sketch Book containing research, experiments, sketches and illustrative

development work

2. Poster, web add or animation.

3. Hand work in at end of this session on Friday 20th

January 2012.

Chichester College

The Creative Brief

For the 2011 campaign poster and animation competitions we would like you to focus your work on explaining the fur factory farm and the cruel reality behind fur.

The majority of the 75 million animals killed for their fur every year are raised and killed on fur factory farms.

The vast majority of the fur that is sold around the world, from a full length coat to a piece of trim on a hood, on a pair of gloves or on a hat comes from fur factory farms where the animals are incarcerated in row upon row of small, barren, wire cages – usually on industrial scale size farms - for the whole of their short miserable lives.

Students should produce an artwork that conveys, to potential buyers and wearers of fur, how and where fur is produced and the brutal suffering endured by millions of animals everyday - all for a frivolous fashion item.

We want you to explain the horror of the fur factory farm to potential wearers and purchasers of real fur items – whether that item is a full jacket, a piece of trim on a pair of gloves or boots or on a hat.

We want you to explain the reality of where that ‘luxury’ fur came from and to show the potential purchaser how that animal suffered and died, just to provide a frivolous fashion item.

How would you explain where the fur they wear has come from, how it has been produced and, ultimately that buying and wearing fur is what drives this cruel and unnecessary industry? How would you convince them to be compassionate, to avoid real animal fur at all costs? How would you use your artistic skills to create a large poster – the sort of poster that is seen on billboards at the roadside, seen from cars and public transport - or a short 60 second film/animation?

Chichester College What’s required? An eye-catching, thought-provoking design for a billboard poster for a city street you’ll have to catch people’s imagination, and quickly, as they pass by your design. Note: The artwork you supply should be maximum A3 sized for ease of judging & reproduction. For the film and animation competition, you need to produce a short film that runs for no more than 60 seconds, so catching people’s attention and then keeping your message short and to the point is key here.

Here are some Top Tips from our judges:

1. The most important is a good idea.

2. Research your subject.

3. This is not a new issue, so the more unique your approach the more likely it will attract attention. Find a key truth or insight.

4. Distil your idea into its best expression.

5. Explore the different ways you can express your key thought and then use the idea you feel is the most powerful. Sometimes thinking about your subject from a totally different perspective can offer up an original approach.

6. Think about where your idea will be shown i.e. poster/press ad /web. Context is very important and can offer original ways of expressing your idea.

Background information: Animals kept in fur factory farms (mink and fox) are still essentially wild animals. They are not like any other type of farm animals, being carnivores, predatory and, in the case of mink, highly territorial and solitary.

• Respect for Animals, UK www.respectforanimals.co.uk/home.php/facts/more/fur_factory_farming/

• Born Free USA (download report and see pages 4 to 9 especially) www.bornfreeusa.org/furfarmreport

• Djurrättsalliansen, Sweden www.sveketmotminkarna.se/horror-revealed-swedish-fur-farms www.sveketmotminkarna.se

• Nettverk for Dyrs Frihet (Network for Animal Freedom), Norway www.forbypels.no/english Djurens Rätt, Sweden www.djurensratt.se/portal/page/portal/djurens_ratt/faktabas/pals

• Anima, Denmark www.pelsinfo.dk and www.anima.dk/forbydminkavl

• Animalia, Finland www.animalia.fi/animalia-toimii/toimintakohteet/turkiseläimet www.animalia.fi/turkistarhatonsuomi/kampanja

• Svoboda zvírat, Czech Republic www.protisrsti.cz

• Swiss Animal Protection, Switzerland www.animal-protection.net/furtrade

Chichester College Promotional objective: Convince potential buyers and wearers of fur, or clothing with fur trim, that real animal fur is cruel and unnecessary – convince them not to buy or wear real fur.

Target audience: Potential buyers and wearers of fur clothing or trim. Young, smart, interested in clothes, knowledgeable about fashion and designers and keen to look good.

Perhaps they’re already unsure about the ethics of wearing real fur, or perhaps they just don’t care about animal suffering.

Design Against Fur needs you to help it convince everyone not to buy real fur.

Advert Copy: There’s no pre-agreed copy to be included. You may supply your own words if you wish.

Use of Images: Students must only use images they have created themselves or images from the web pages listed below. The owners of the images on these web pages have given Design Against Fur their specific agreement that these images may be used for this Design Against Fur competition. Design Against Fur would like to thank them for their assistance, it is much appreciated.

• Nettverk for Dyrs Frihet (Network for Animal Freedom), Norway www.flickr.com/photos/dyrsfrihet/sets/72157621987318377 www.flickr.com/photos/dyrsfrihet/sets/72157615485338679

• Michal Kolesar, Czech Republic michalkolesar.net/cpg/index.php?cat=5

• Anima, Denmark www.flickr.com/photos/forbydminkavl/page2/

• Swiss Animal Protection, Switzerland www.tierschutz.com/media/

Note: We cannot accept entries which use of images created/produced by third parties &/or purchased from photo agencies.

What must be included: The Fur Free Alliance logo and the wording: infurmation.com You may also need to add the logo of a FFA member group in your country (ie the country in which you study). Check here to see if your country is listed & if so, does it have a downloadable logo on this page? If yes, please ensure you add the logo.

Required response to this brief: Entry is free of charge but you must register your details. Find out more about how to enter the competition here.

Chichester College

Facts about Fur

• Factory farmed fur is cruelty on a mass scale for a frivolous product.

• Around the world, more than one fur-bearing animal dies every second.

• Over 75 million factory farmed animals including raccoon dog, fox, mink, fitch and chinchilla die every year for their fur, merely to satisfy the whims of fashion.

• Fur factories subject animals to a life time of suffering and death. Animals spend their entire lives in small, filthy cages, madly pacing back and forth out of stress and boredom. Cannibalism is often the grim reality of this psychological distress.

• There is no humane slaughter legislation to protect these animals. They are killed by cruel methods that preserve the pelt, such as gassing, neck breaking, clubbing and anal electrocution.

• The trapping of millions of wild animal around the world entails immense suffering and death. They are caught in the wild with snares, leg hold and conibear traps and endure excruciating pain. Death can take days. In a desperate attempt to escape, many try to chew their limbs off. When the trapper returns, the animal will be shot or clubbed to death if they are still alive. Others die of infection or become prey to other animals. Snares, leghold and conibear traps are indiscriminate and often non-target animals are caught and deemed as "trash", even though they may be members of endangered species.

• Fur is not a by-product of the meat industry (as with leather) -- it is factory farmed and/or trapped purely for fashion. Often a large number of animals (e.g. 60 - 80 mink) are killed to make one garment.

Chichester College

• Fur trim is not the 'leftovers' from making full length fur coats: more animals are killed to make fur trim than for full-length fur coats. This is because there is a larger market for fur collars than fur coats.

• China's fur farms now produce 80% of the world's fur pelts. As there are no animal welfare laws in China, foreign and national investigators have documented unimaginable acts of cruelty to animals.

• Furthermore, contrary to the deceitful claims of the fur industry, fur is not an eco-friendly or a "green" product. The fur industry relies on the heavy use of toxic caustic acids to treat pelts which would otherwise rot as fur garments and the concentrated agricultural waste from fur factories can damage the environment.

Official Rules 1. No animals were killed, hurt, distressed or mistreated in any way in the production of the artwork.

2. All images used must be created by the entrant, we cannot accept use of images produced by third parties &/or purchased from photo agencies. You may use fur farming images from the five websites detailed under the 'Use of Image' section on the Creative Brief page.

3. All entries must be original; and they must be the work and property of the entrant. They must not have been published, broadcast, or otherwise publicly distributed previously, and must not infringe on any third party rights.

4. We accept no responsibility for any entrants’ designs including, but not limited to, wording or images used. We are not liable for any copyright infringement on the part of the entrant and will not become involved in copyright disputes.

5. The judges decisions are final. Artwork cannot be returned to the entrant after submission.

6. All entries must be submitted by and be the work of college/university level students who are registered during the winter and/or spring terms of 2010/2011. One entry per person or group. Multiple entries will automatically disqualify the entrants.

7. By entering the competition the student agrees to transfer or cede all commercial and non-commercial rights and property interests in the artwork to the Fur Free Alliance and/or its affiliated organizations for free use, in any manner, in perpetuity.

8. The Fur Free Alliance and/or its affiliated organizations undertake to acknowledge/credit the artist(s), whenever appropriate and possible in the context of such use.

Chichester College

9. The FFA reserves the right to: - suggest and implement modifications/amendments to the original design; - organize translations or renditions of the winning caption in other languages; - add the logo of one or more FFA member organization. Although not required to do so, but in so far as possible and practical, the FFA undertakes to carry out such modifications or amendments in close co-operation and consultation with the winning designer(s) on the basis of mutual trust and confidence.

10. Every effort will be made to contact students whose posters or animation entries are used outside of the DAF/FFA websites.

11. Whilst entrants are mandated to feature the FFA logo as well as the www.inFURmation.com web address prominently in their submissions, and, in the case of national competitions the use of an FFA affiliate's logo, their rights regarding such use are strictly limited to the requirements, rules and immediate context of the competition. Designs featuring the FFA name, logo &/or www.inFURmation.com web address may not otherwise be displayed or distributed without the express permission of the Fur Free Alliance. Identical restrictions apply to the Design Against Fur logo and the logos of national FFA affiliates/participating organizations.

12. Whilst every effort will be made to limit such eventuality, the rules, terms and conditions outlined herein remain subject to modification without notice. Every effort will be made to highlight any such modifications at www.inFURmation.com Entrants are therefore encouraged to consult the website regularly.

Poster Submission Requirements

Both the Fur Free Alliance logo [Your submission must include:

download JPG here] and the wording inFURmation.com must be included in your poster design.

Please send the following to us (see here for the animation requirements):

o Submission form: please download, complete, sign and include

this form in your package;

o One hard copy of your poster, no larger than A3 size (11x17inches US), printed at 300dpi, mounted on card. Please ensure you name and your registration number is written clearly on the reverse; and

o A CD containing all of the following

Your poster design in the original file format of the computer program you used to design it (example: an Adobe Illustrator, InDesign or Photoshop file).

:

Your poster in both high resolution (2200x1600 pixels @ 300dpi max) jpg and pdf file formats

Files should be named using this convention: lastname_firstname_Reg#.pdf (example: smith_john_EUR1234.pdf).

.

Chichester College Please clearly label your CD with your name, school name, telephone number and your DAF registration number.

Where a class is submitting a number of posters, we encourage you to burn all files onto a single CD. In this case, please ensure each student has his or her own clearly named folder on the CD.

Prize Money:

To ensure that your poster and CD aren't damaged or broken, please mail them in a padded protective envelope or package.

Eur

First Prize € 700

Second Prize € 300

Third Prize € 150

SPEAK OUT AGAINST FURUnit One : AS Graphic Design

FIRST PRIZE UK 2010

Newcastle College

SECOND PRIZE 2010

Plymouth College of Art Gloucestershire College

SPECIALLY COMMENDED

SWANSEA METROPOLITAN UNIVERSITY

HULL COLLEGE

SOMERSET COLLEGE OF ARTS & TECHNOLOGY

NEWCASTLE COLLEGE

SWANSEA METROPOLITAN UNIVERSITY

THE BRIEF

To design a Poster for the 2012 anti fur campaign

Hand in 20th January 2012Finished outcomes1. Sketchbook2. Web site design3. Poster design or animation

Typography in Graphic Design

Say no to Fur!

Neville Brody• Neville Brody became famous in the 1980's for his typographic

design work on numerous British magazines, in particular The Face and Arena.

David Carson

Like Neville Brody, typographer and graphic designer David Carson became influential in the late 1980's and 1990s for experimental typeface designs. David Carson's designs were featured heavily in surfing and skateboarding magazines.A tribute to other self-taught designers, David Carson broke most of the rules of design and typography.

Work of Others

Stefan Sagmeister

DJ Stout

Type Terminology

Make Typography Stand Out• Experiment with

Fonts

• Be creative with Colour Schemes

• Don’t Over-do it

• Put in Emphasis

• Try Harmony

Typography styles

Expressive Outcomes

Useful websites• http://gawno.com/2009/05/micrography-text-art-and-

typography/

• http://www.cutnspray.com/forum/viewtopic.php?f=34&t=4494

• http://graphicdesign.spokanefalls.edu/tutorials/process/type_basics/history.htm

• http://ilovetypography.com/2007/11/21/type-terminology-old-style

Kim Atkins,2011

Like any creative activity, the design process is not linear. The various stages of the process – from the designer’s initial response to a given brief, through to the final product or design solution – are not necessarily clearly defined and will often involve revisiting ideas, evaluating and making modifications throughout. The design process is presented here as a clearly identified, linear process only to make clear the various stages a designer will go through during the overall design process. Briefing The design process always begins with a design brief. This identifies the task to be achieved and states the requirements of the design and the available budget.

Research There should be a period of time at the start of any project spent thinking about the brief and researching the subject. The process of researching helps to deepen an understanding of the subject and inspires ideas. Set aside time to research the project, looking on the internet, at books, or at objects in your home or local environment. Research can be on history, trends and lifestyle, materials, processes, costs, marketing, ergonomics. Think about the needs of the market and target audience. Who is the design for? What are the users needs?

Initial Ideas Brainstorming can be an excellent way to begin a project. If, for instance, the design is to design a chair, list all the different types of chairs, their features and where you find them. Next, discuss ideas and make sketches, notes and references. At this stage it is important to be open minded, allowing ideas to be limitless and to let them flow. Recording every thought and idea on paper is essential; everything is valid at this stage.

Design Development After generating initial ideas, next comes the making stage. This is when prototypes or models are created. During the making process, you will be modifying, adapting and evaluating your ongoing work. You should be free to explore and experiment with your ideas and with the materials you are using.

Evaluation and Modification Ongoing evaluation, and the presentation of work in progress to others, is extremely important to the design process. Once any design idea has been evaluated, modifications and changes may be necessary. This may mean revisiting the design brief, more research or more re-designing. The design process is an ongoing, fluid dialogue between all the stages.

Presentation of Final Design Solution + Final Evaluation Presenting a final design solution to a group, large or small, at the end of the project when the product is complete or the concept is fully formed is essential. In industry you will be presenting, more often than not, to a client (either a single person or group of people). Final presentations have an open question-and-answer session. This is the time to evaluate the design outcome. Refer back to the original design brief and ask the question ‘does the final product or solution satisfy the given design brief?’

Design Process

Kim Atkins,2011

Kim Atkins

Surrealism Artist Links: Rene Magritte & Alberto Seveso.

Rene Magritte Alberto Seveso For today’s lesson you I want you to explore artists such as Alberto Seveso, Rene Magritte, and experiment with the modern and traditional surrealism. First use a traditional collage of images you created surreal montage image. Next extend and develop that image using traditional and digital media and methods Then take to the computer and develop your ideas further by layering more images and blending colour, sketches, to create further ideas (see Hand out). Outcomes Evidence in sketchbook Research into artist + your own responses Traditional Montage Digital manipulation Mix-media Evaluation and annotation

Surrealism

Aim: To introduce Surrealism. Create your own surrealistic collage.Objectives:By the end of the lesson students should be able

to: Understand the basics of SURREALISM. Apply these basics to your current project. Create a surreal collage. Evaluate own performance

Surrealism

Started in 1924 Art based on imagination and dreams The artists began painting weird and

wonderful things to escape the horrors of World War 1 Dream paintings are very detailed Famous artists – Salvador Dali, Rene

Magritte, Max Ernst, Giorgio de Chirico

Giorgio de Chirico 'La Mort d'un esprit [Death of a spirit]' 1916 oil on canvas

36.0 x 33.0 cm

SHAPES

OBJECTS

WHAT CAN YOU SEE?

Giorgio de Chirico

Canto d’amoreGiorgio De Chirico

Does this painting tell a story?

Does This painting remind you of anything?

Giorgio de ChiricoThe Melancholy of Departure 1916

HOW DOES THIS PAINTING MAKE YOU FEEL?

René Magritte

His work frequently contains a juxtaposition of ordinary objects or an unusual context giving new meanings to familiar things.

• His work is often witty and amusing, and he created a

number of surrealist versions of other famous paintings.

L'aimable vérité

Following André Breton's invitation to join the Surrealist movement in 1929, Dalí quickly established himself as the leading Surrealist artist. The use of objects such as, Ants, crutches, keys, watches, lobsters, bread, eggs . Dalí'smost striking works combined this dream imagery with echoes of the majestic plains of the Emporia, or the fantastical rock formations.

Salvador Dali

Persistence of Memory Salvador Dali, Lobster Telephone

Task Create your own dream image in the surrealistic style,

your starting point is animal crulity. First Plan your idea using thumb nail sketches,

annotate to explain its meaning Now using a combination of scanned in drawings and

digital manipulation create your image. Refine and improve this image at least three times

further. Evaluate your outcome, and explain how or what

inspired you.

Collage

The French word to ‘Paste’

Pablo Picasso (Spanish, 1881-1973), Bottle of Vieux Marc, Glass, Guitar and Newspaper, 1913, collage and pen and ink on blue paper, 46.7 x 62.5 cm, Tate Gallery, London. See Cubism, music, and still life.

Picasso 1913, pasted paper, charcoal, ink, and chalk on blue paper, mounted on ragboard, 26 1/8 x 19 1/2 inches (66.4 x 49.6 cm), Museum of Modern Art, NY.

Kurt Schwitters (German, 1887-1948; in Norway 1937-40; in England 1940-48), Revolving (Das Kreisen), 1919, reliefconstruction of wood, metal, cord, cardboard, wool, wire, leather, and oil on canvas, 48 3/8 x 35 inches (122.7 x 88.7 cm), Museum of Modern Art, NY. (A fine point: Someone at the Museum of Modern Art describes this as a "relief construction," and this may be more appropriate than calling it a collage. Is it more a construction because its components are joined by nails and wire than by adhesives? From this photo of it, Revolving greatly resembles what might just as appropriately be described as a collage. If these terms overlap, how much do they?!)

Richard Hamilton Pop Art

Peter Blake

Robert Rauschenberg

Peter Blake

Contemporary Collage

Collage Task You need to produce your own

collage based on cruelty objects.

You can use images from magazines with your own drawings.

Animation with Photoshop Slide Animation: Say No To Fur

You can create a simple slide animation using Photoshop, if you think of it like a flick book so each image is a development of the previous image. You can animate drawn images, text or photos in the same way.

1. First open a new document, File > new > A4 >enter 2. Then open the animation pallet, window > animation 3. In the layer pallet add a new layer, and open your first drawing and copy onto this layer,

or use the pen tool to draw your image. 4. Now keep adding a layer and placing the next image on it.

5. Now turn you attention to the animation pallet, and add a slide, then continue to add slides. However remember that each time you add a slide you must ensure that for each slide there is one image layer switched on and the background switched on and the other are off. 6. When all the layers are assigned to a slide on the animation pallet, apply a time to each slide this is located in the drop down on the bottom of each pallet. 7. Ensure you have saved the document as a PSD file, and then click the play button on the animation slide pallet. 8. When you’re done you can export this file as a render video and

ensure you choose avi file, and then you can play it using media player.

• Or go file edit in image ready on older versions. • Choose File > Export > Original Document, and choose QuickTime Movie from

the Save As Type (Windows) or Format (Mac OS) menu. • Specify a file name and location, and click Save. • In the Compression Settings dialog box, choose a compression from the pop‑up

menu, specify the compression options, and then click OK.

Chichester College A Level Graphic Communication

Course Manager; Kim Atkins 1

Adobe flash cs4 Animation Basics In this tutorial we are going to use some of the basics of animation, and create a flying line animation. First we must open a blank document, and change the settings by changing essential view to animator view. This will change the desktop to the animator view, next we will collapsing the colour and property pallets to create more room. You now should have your desktop with the timeline at the top motion editor in the middle and the stage below. So to start creating our animation we will first select the brush tool (1), then chose black for the stroke colour (2), and finally the brush size (3). Fist start by drawing the Pop at the beginning of the animation, with the brush tool. Next pres F7 to create a blank frame just remember every time you create a new frame you can’t see what was in the previous frame, but it is still there!

However, you can use the onion skin command; this ensures you see the previous two frames so when you are animation you know where to place your next image.

The gray pieces are the previous drawing and the black is the present drawing.

1

2 3

Kim Atkins,2011

Drawing Using Stroke Paths in Photoshop

Woman in Russian Blouse II,

This image is by Matisse, and is to form the starting point/ inspiration for your task. It is a simple line image, and this exercise is going to show you how to use the stroke paths in Photoshop to create something similar.

by Matisse.

First Open Photoshop and then, file> open and select your image to trace (something relevant to your project).

Next create a new layer and call it line, this will be where you draw.

Now using the pen tool start drawing/ tracing over your image, ensuring you are on the line layer.

If when you select the pen tool you choose line, you can pre-select the line thickness.

Figure 1: Using the pen tool trace around part of the image, and you will end up with a faint line.

Figure 2 Right click and choose stroke path, you must have the pen tool selected !

Kim Atkins,2011

Task

Now experiment with this tool trace over some found images relevant to your project, the refine and develope this images further till you have at least six variation, then lay this out in your sketch book making refrence to the images and artist that inspired you.

Figure 3: Having right click on the line layer while the pen tool is still selected, choose pencil and click ok.

Figure 1: Now a black line will appear where the thin line was.

Kim Atkins,2011

Kim Atkins,2011

Julian Opie Style 1) Create a New A4 document

> Drag and Drop picture into new document 2) Free Transform

> Edit > Free Transform > Hold cursor over one of the corners, press ‘Shift’ and left mouse button and drag until it’s the right size > Release buttons > Double Click in the image or press the move tool

3) Outline face

> Take down the opacity of the image (slide the bar to the left) (the layer can be turned off – taken away – at any point by pressing the eyeball) > Create a new Layer called ‘Lines’ > Choose brush from tools (menu appears at the top of the page – set brush size to your liking) > Draw outline of your face (a creative outline – not like-for-like) > turn off the eyeball on the original photo to help with the drawing > Use the erase tool if you make a mistake > Zoom in and out for more accuracy (Ctrl and Press + or -) (Press the space bar and the left mouse button to move the image)

4) Add Skin

> Create a new Layer called ‘Skin’ > Drag and drop layer under Lines > Use the eyedropper to take a colour from the skin on the main photo > Click on the colour square and change the colour to your liking > Choose a large brush and colour in the skin

5) Add Hair

> Create Layer called ‘Hair’ > Drag and drop layer under Skin > Choose colour and a large brush and colour in the hair

6) Add Shoulders

> Create Layer called ‘Shoulders’ > Drag and drop layer under Hair > Choose colour and a large brush and colour in the shoulders

7) Part 6 – Highlights

> Create Layer called ‘Highlights’ > Drag and drop layer under Lines > Choose the colour of the area that you wish to highlight and make it darker > Choose the Polygonal Lasso tool > Create sharp cornered highlights on the face > Choose the paint bucket (look for it beneath the gradient tool) > Fill your highlight in by clicking onto the highlighted section > Play around with the opacity on the layers menu to create more subtle highlights

8) Part 7 – Background

> Create Layer called ‘Background’ > Drag and drop Background layer to the bottom > Choose a colour that will complement the portrait > Use the paint bucket to fill the layer with colour

9) Save (PSD) and Print

Kim Atkins,2011

Graphic Design Chichester College Image Making What are we doing? We are going to create some mark/image making samples using low-tech manipulation. What’s the point? Image making is an essential process for all creative graphic designers and illustrators. We need to know how we can manipulate images and what they may suggest (meaning, association). We need to explore layout, placement and cropping for the same reasons.

List low tech manipulations and sort into Cruelty and Caring categories

Identify different ways of cropping

Select an animal to manipulate (this must be no bigger than 5cm x 5cm, make high contrast and desaturate if you want)

Create 5 x samples showing cruelty and 5 x sample for caring using your image and manipulations (look at the examples and try to replicate)

Evaluate the exercise. Personal Study

Scan images and save in your document (also to show in book)

Show the exercise in your sketchbook

Find at least 5 images that show an animals beauty (wild, nature, etc)

Find at least 5 images that show animal cruelty (caged, de-furred, beaten)

Produce further independent samples that explore low tech. manipulation / cruelty or Caring

Advanced Objectives

Explore the work of Kate Gibb, and develop you work further, by scanning your images in and digitally refining them.

By Kate Gibb

Kim Atkins,2011

Simple line image from a photo.

Here’s a quick three-step Photoshop tutorial to make line images from any digital photo, that you can then manipulate further.

Step One: Open image in Photoshop and size to fit your paper. Create duplicate layer to work with for Steps 2 and 3.

Step Two: Go to Filter–>Sketch–>Photocopy and adjust the detail and Darkness settings. Try to keep the Detail setting as low as possible while still retaining the major outlines of the image. I have set the Detail at 3 and the Darkness at 40. The Darkness setting just needs to be dark enough to see the outlines you want to keep.

Step Three: Now we’ll clean the image up a bit by adjusting the levels. Go to Image > Adjustment > threshold and move the slider up to darken the lines. The clean up some of the noise in the white areas of the picture, by trying the noise filter or just get rid of it with the erase tool.

Step Four: Print it out several in black and white and you’re good to go, colour them it, sick images over draw over. Be experimental! Maybe scan it back in and refine further, stick this all in your sketch book and evaluate.

Kim Atkins, Course Manager, A level Graphic Communication.

Home page

First Link page Edit Button

Website Design Your task to this week is to create a website/ digital portfolio about you and your current projects. As you progress you can add to this site, and if you have time add in your other work later. This can also act as a precursor to developing a digital portfolio for application to university. Your website must include…

1. A general home page, about you and current unit brief.

2. Pages with pictures and scanned in images of you work, telling the story of your work.

To create your website… First log on to www.Wix.com and sign up. Then take five minuets to explore the website, and see what others have done. Then click on the create tab, and choose a template form the variety of themes offered by Wix. Take time to find the best one for you, look under Art, Design and portfolios these maybe of interest. Just remember as long as you save what you do as you go, if you need to return to something you made before it will be available in My Account. Once you have chosen your template click on it, and then click on the edit button in the top right hand corner of the page. (You can start with a blank document, and design the layout yourself) This will be an ongoing task, and at the end you will hit the publish tab, and upload it to the wix site and email it to Kim.Atkins@chichester.ac.uk This should all be done by the end of exam sessions in May.

Kim Atkins, Course Manager, A level Graphic Communication.