Tuesday, 13 December 2011



Here are a few images i have collected to inspire me for the typogateux brief: 

Sweet Graffiti

Sweet Street

Food Craft


Alice and Wonderland

Tie dye cupcakes


Thursday, 8 December 2011

Jo's task

MM Paris

-Mathias Augustyniak  and Michael Amzalag met 22 years ago while both were students in Paris. 14 years ago. 
-Together, they founded M/M (Paris) in 1992
-The pair work in many realms, most prominently art direction for fashion, but work within music, art, film, publication design and experimental typography.
- They have an immensely impressive list of clients that includes the likes of Prada, Calvin Klein, Louis Vuitton, Madonna, Vogue Paris, Adidas and many more. Perhaps their most recognisable pieces are those of an illustrative approach.

I admire that they work in the world of music, art and fashion; what I’d like to do.
I like the creative visual structure of their work
Drippy, dreamy dynamic work

Bec Winnel

-Bec is a self taught artist and illustrator with formal training in Graphic Design through Swinburne University in Melbourne, where she now lives.
-Her unique, delicate and soft portraits are dosed with sensuality and emotion, and created by blending layer upon layer of colour pencil, graphite and pastel. 
-Her work has been described as reminiscent of vintage Victorian postcards and like melancholy souls staring out at you through disguised, beautiful faces.
-Bec works full time as a graphic designer and in her spare time, works as an illustrator and artist, exhibiting her work in group shows when she can. She is currently working towards her first solo show in early 2011.

I particularly like her portraiture work because of the gentle and elusive detail put into the work to create such attractive illustrations
The fairy tale touch
Pastel colours make the image quite alluring
I’m fond of the vintage flair she emits

Jo's Task / Favourite Creatives

Favourite Creatives:

Artists/ Painters:                                                  
Salvador Dali
Marcel Duchamp
Jenny Saville
Georgia O’keefe
Jayne Cruickshank
Rebecca Faulding
Jan Van Eyck
Van Gogh
Lori Earley
Mark Rydan
Oleg dou
Jackson Pollock
Keith Tyson
Frida Karlo
Sara Moon
Zhang xaio Gang
Ben Allen
K- Guy
Paul insect
Sas Christian
Jonathan Weiner
Chuck Close
Feng Zhengjie
Gerhard Richter
Fred Eerdekens
Art and Ghosts
Dexter Dalwood
Glenn Brown
Jean Michel Basquiat
Francesco D'isa

Cindy Sherman
Margrett bourke white
Diane Arbus
Patrizio De Renzo
Robert Capa
Sarah Moon
Tim Walker
Solve Sunsbo
Francesco Vezzoli
Shi xinning
Man Ray
Alix Malka
Craig Mcdean
Annie Leibovitz
Paolo Roversi
Nick Knight
Philippe Halsman
Cartier Bresson
Feininger Andreas

Tim Burton
Sandra Suy
Catherine Brookes
Laura Laine
Kelly Smith
David Downton
Cecilia Carlstedt
Courtney Brims
Mia Marie Overgaard
Bec Winnel
Erica Eyres
Prada Illustration
Joe Fenton

Fashion Designers:
Manish arora
Gareth Pugh
Iris Van Herpen

Graphic Designers/ Typographers:
Dan Collier
Russ Mills
Yulia Brodskaya
Julene Harrison
MM Paris
Riley Cran
Radio Illustration Collective
Atelier Olschinsky
Zim and Zou

Vault 49
HEY Design Studio

Friday, 2 December 2011

How to make a paper air plane

Throughout planning some ideas, we agreed that perhaps slightly changing the how to name, to 'how to make a miniature paper air plane' would appeal more to the audience, and perhaps we could design some really intricate models of planes.


Whilst search for miniature paper planes, i came across a blog spot account which i was really interested in, and i like the design work produces, it is also fitting for the theme of 'miniature'.

Thursday, 1 December 2011

Lecture 5: Film theory 2

'French new cinema wave'
Who were the new waves? British and French movement - focus on paris

French film makers:
Jean Luc Godard 

Francios Truffaunt

Claude Chabrol

Jacques Rivette

Eric Rohmer

All were once film critics and were involved writing cahiers du cinema. 

The French new wave and European art cinema:

  • Henri Langlois and the Paris Cinematèque
  • André Bazin and the realist tradition
  • Cahiers du Cinema
  • From Critics to Auteurs
  • Against the “Cinema of Quality”
  • Discovery of American genre films
  • Cinematic, rather than literary, values
  • Importance of personal expression
  • Spontaneity and digression
Stressed the individual, experience of free choice, sense of absurdity in human life, use free will.
Jean Luc Godard - Breathless 1930

Reinventing film from the ground up
Basis in American gangster films
Location shooting, natural lighting, handheld camera
Reality of story/ reality of film
Ambiguities of camera, identification, of ending

French new wave: The editing style

  • Free style did not conform to editing rules
  • Discontinuous
  • Jumps cuts

French new wave: Mood shifts

  • infatuation
  • boredom
  • romanticism
New wave films:

François Truffaut, The 400 Blows
Alain Resnais, Hiroshima Mon Amour

Jean-Luc Godard, Breathless
François Truffaut, Shoot the Piano Player

Jacques Rivette, Paris nous appartient
Jean-Luc Godard, A Woman Is A Woman
Alain Resnais, Last Year At Marienbad

François Truffaut, Jules and Jim
Agnes Varda, Cleo From 5 to 7
Jean-Luc Godard, My Life To Live

How to make a paper air plane

Here is some initial research i have gather on practically how to make a paper airplane:

Materials needed: (example, not exact requirements)
-Stack of copy paper – this is for our basic airplane, and we will go through lots of it
-Construction paper – this is for one of the variables, so we will only need,15 sheets
-Heavier paper – this is also for one of the variables, so again need,15 sheets
-Paper Clips

Directions: (example, not fit measurements or requirements)
-Fold an 8 1/2 X 11 sheet of paper down the middle of the 11” dimension.
-Next fold the upper two corners in at a 45 degree angle. Be careful here to line these up, and do not let the flaps cross the middle of the paper. Use the middle fold as a guide.
-Fold each side, again using the middle as a guide. The two sides should be even.
-Fold in half along the fold that you made in step 1. Now fold the wing down to the bottom of the plane. 

Why does my paper airplane not look like a real airplane?
Most full size planes have wings, a tail, and a fuselage (body) that holds the pilot and passengers. Most paper airplanes have just a wing and fold of paper on the bottom that you hold when you throw the plane. The main reason why paper airplanes look different than real planes is to allow the paper airplane constructor to make a plane as easily and quickly as possible. The simplest airplane is the flying wing, and that's what most paper airplanes are. Also, many features of a real airplane permit functions that a paper airplane simply doesn’t need. For example, the flaps, which are the control surfaces on the edge of the wing, allow the plane to take off and land slower. With a paper airplane, these functions are obviously not needed!
How does plane weight affect flight? 
The simple answer is weight forward is good. In every object there is a center of gravity – a neutral point where all of the mass is balanced. If an airplane has a center of gravity ahead of the neutral point, then this plane is stable. If this center of gravity is behind the neutral point then it becomes unstable causing nose-dives and spins. 
What really is stability?
Stability means that the plane, if disturbed, will return to its original state. A stable airplane tends to oscillate up and down a few times, but converge on a steady flight. Many typical paper airplane designs are stable, but just barely. A plane that is unstable will either pitch up into a stall, or nose-dive, but won’t settle out anywhere in-between. As a plane becomes more and more stable, it wants to fly faster and faster. To counter this tendency, up elevator must be used to produce a good trim airspeed. This is why many of the classic paper airplane designs are nearly neutrally stable. Few people realize good pitch stability requires a heavy nose and some up elevator. The classic designs rely on the small inherent "up elevator" effect (positive zero lift pitching moment) resulting from the swept wing, and possibly the airfoil shape. Thus many classic paper airplanes can be flown with no elevator adjustment. Sometimes they fly well, many times they don't, and they always have poor stability. 
What is the importance of winglets? 
The Fuselage acts like the vertical stabilizer of real airplanes. Sometimes bending the wingtips up on paper airplanes also helps to add directional stability. The combination of the fuselage and wingtips on paper airplanes allows them to have positive directional stability. This stability is provided in real airplanes by a vertical tail. 
Does material matter?
Paper airplanes usually have short "stubby" wings, called "low aspect ratio" wings. The distance from wing tip to wing tip is called wing span, and the distance from the front to the back of the wing is called the chord. The ratio of wing span to average chord is called "aspect ratio", and is an important characteristic of wings. Paper is a lousy building material. There is a reason why real airplanes are not made of paper. Although high aspect ratio wings reduce drag, they also require better building materials. The low strength of paper does not allow the use of high aspect ratio wings. With a thicker material or paper, it is easier to make planes with high aspect ratio wings.


Here are a few images i have collected of folding techniques, instructions, outcomes, to give the group an initial idea of where to head with the project: