Portfolio 3rd Semester. Graphic Design 2 Torill-Irene Solheim

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1 Portfolio 3rd Semester Graphic Design 2 Torill-Irene Solheim

2 Mandatory assignment 01 the journey of a centimeter

3 XII I XI II X IX III VIII IIII VI VII V Klokken tikker H tiden går du vil alltid bevege deg hvor enn du står

4 Mandatory assignment 02 one product four decades

5 00 MAISON CHATOU depuis 1932 CHARDONNAY Alc.7.5% Vol FRANCE ml e

6 20 chardonnay france 1920 Alc.7.5% Vol maison chatou depuis ml e

7 60 Maison Chatou depuis 1932 Alc.7.5% Vol CHARDONNAY france ml e

8 80 maison chatou 1932 CHARDONNAY Alc.7.5% Vol france ml e

9 Mandatory assignment 03 door to door organics

10 Profilmanual

11 Innhold Profil Logo Bruk av logo Typografi Farger Pakking Levering Arbeidsklær

12 Profil Door to Door organics går sammen med lokale økologiske bønder for å bringe ferske økologiske råvarer direkte til kundene hjem på døren. De fokuserer på miljøvennlige ressurser og økologiske råvarer, til voksne folk eller familier som tenker på miljøet og vil ha de sunne og riktig produserte råvarene til kostholdet i hverdagen. 1

13 Logo 2 Logoen finnes i ulike varianter. En positiv-farget, en positiv sort/hvitt som også kan brukes som negativ og en annen versjon av positiv-farget logo. For en tydeligst mulig identitet bør logoen fortrinnsvis brukes som den første positivt-farget versjonen på lys bakgrunn. Sort/hvitt varianten brukes kun når én farge er tilgjengelig og den negative brukes unntaksvis på ekstremt fargete bakgrunner. Pass på at logoen alltid har god kontrast til bakgrunnen. Logoen har også 2 versjoner for ulik størrelse, ved bruk av stor logo brukes varianten med 2 ekstra kornblader på hver av sidene til den sirkelen i midten. Ved bruk av liten logo brukes varianten uten disse.

14 Logo Door to Door Door to Door organics organics Door to Door Door to Door Door to Door Door to Door 3 organics organics organics organics

15 Bruk av logo 4 For å sikre en tydelig identitet er det viktig at ikke andre elementer blir plassert for nær logoen. Det er derfor definert et beskyttelses-område rundt logoen, som indikerer minimum avstand til andre elementer. For at logoen skal stå tydelig som avsender, skal den fortrinnsvis ikke stå mot grønne bakgrunner. Logoen kan også brukes over fotografier, men bør da brukes mot farger som gir gode nok kontraster.

16 organics Bruk av logo Door to Door organics Door to Door Door to Door organics o r g a n ic s Door to Door Door to Door Door to Door Door to Door organics organics organics 5

17 Typografi 6 Marcelle Script ABCDEFGHIJKLMN abcdefghijklmn PT Sans ABCDEFGHIJKLMN abcdefghijklmn Hovedfonten til overskrifter foretrekkes det å bruke Marcelle, gjerne som grønnfargen til profilen, eller brun. Men den fungerer like godt som sort på hvitt. Til undertekst, brødtekst og små skrifthandlinger skal det brukes fonten PT Sans, som også er en websikret font. Den brukes gjerne helst i brunfargen til profilen mot overskrifter i grønnfargen.

18 Farger 7 Fargene som primært skal brukes for bedriftens identifisering består av en grønnfarge, en mørkebrun og en lysebrun. Slik som logoen har en brunere variant kan fargene brukes om hverandre til en spesiell betydning for en spesiell hensikt. Likevel skal ikke fargene brukes for mye mot hverandre og heller ikke erstattes med andre type raster og valører i henhold til bedriftens og logoens identitetsskaper. Kodene til fargene skal alltid brukes når det oppgis en farge, ingen andre typer som bare ligner.

19 Farger #: 8CAD8E rgb: 140,173,142 cmyk: 48,19,51,1 #: F4EDE9 rgb: 244,237,234 cmyk: 3,5,6,0 #: 9E9186 rgb: 158, 145,134 cmyk: 40,39,45,3 8

20 Pakking For utsending av varene skal det brukes trekasser med logo og illustrasjon. Det er også tilgjengelig materialgjenvinnelig plastemballasje for kunder som ønsker at enkelte råvarer pakkes inn for bedre kvalitet. Det er illustrert pappesker i tillegg for råvarer som er små og trenger tettere holdning. Alle emballasjene og kasser skal være trykt med logo og illustrasjon for en tydelig intentifisering. 9

21 organics Pakking Door to Door Door to Door organics Door to Door organics Door to Door Door to Door organics Door to Door organics organics Door to Door organics 10

22 Levering Bilene har stor logo på begge sidene og illustrasjon fra logo på baksiden over dørene. Sjåførene skal også ha arbeidsklær med den visuelle identiteten til bedriften, gjerne med navneskilt for at kunder skal kjenne til de som leverer råvarene. Arbeidsklærne består av t-skjorter og caps i 2 forskjellige farger. 11

23 Levering Door to Door o r g a nic s 12

24 Arbeidsklær Door to Door organics Door to Door organics Door to Door organics Door to Door organics 13

25 Door to Door organics

26 Mandatory assignment 04 book design

27 The OLD ONE who is Loved is WINTER with flowers CASPER CANOVAS TYPOGRAPHY from the EAST TYPOGRAPHY from the EAST A Visual Journey through ASIA S written word foreverbooks ISBN foreverbooks CASPER CANOVAS

28 TYPOGRAPHY from the EAST A Visual Journey through ASIA S written word CASPER CANOVAS foreverbooks

29 CONTENT foreverbooks 2nd editition Copyright 2010 by Foreverbooks and published designers and typographers. All rights reserved. No part of this book may be reproduced in any form without written permission from Foreverbooks or the published designers and typographers. Contact Foreverbooks Postboks 657 Sentrum 0181 Oslo Coverdesign: Torill-Irene Solheim Printers: Blockprint Paper: 90 g Bearpaper ISBN Introduction East vs West Historic Perspective Geography Asian Aestehics Asian Keyboards Arabic Indo Chinese Mandarin Korean Sanskrit Japanese Cyrillic Crossing Cultures End note References and Acknowledgements

30 Introduction The beauty of typography has no borders. While most of us work with the familiar Latin alphabet, international projects usually require quite extensive knowledge about less familiar writing systems from around the world. The aesthetics and structure of such designs can be strongly related to the shape and legibility of the letterforms, so learning about international writing systems will certainly help you create more attractive and engaging Web designs. Pick any language you like: Arabic, Chinese, Japanese, maybe Nepali? Each is based on a different writing system, which makes it interesting to figure out how they work. Today, we ll cover five categories of writing systems. This may sound tedious and academic, but it s not. If you take the time to understand them, you ll find that they all give us something special. We ve tried to present at least one special feature of each language from which you can draw inspiration and apply to your own typography work. We ll cover: East Asian writing systems, Arabic and Indic scripts (Brahmic). 7

31 Chinese Characters Chinese characters are symbols that do not comprise an alphabet. This writing system, in which each character generally represents either a complete one-syllable word or a single-syllable part of a word, is called logo-syllabic. This also means that each character has its own pronunciation, and there is no way to guess it. Add to this the fact that being literate in Chinese requires memorizing about 4,000 characters and you ve got quite a language to learn. Fortunately for us, we don t need to learn Chinese in order to appreciate the beauty of its writing. East Asian Writing Systems Obviously, the Chinese uses Chinese characters (where they are known as hanzi). But Chinese characters are also used in various forms in Japanese (where they are known as kanji) and Korean (hanja). In this section, we will look at four East Asian writing systems: Chinese, Japanese, Korean and Vietnamese. Because many commonly used Chinese characters have 10 to 30 strokes, certain stroke orders have been recommended to ensure speed, accuracy and legibility in composition. So, when learning a character, one has to learn the order in which it is written, and the sequence has general rules, such as: top to bottom, left to right, horizontal before vertical, middle before sides, left-falling before right-falling, outside before inside, inside before enclosing strokes

32 The Eight Principles of Yong The strokes in Chinese characters fall into eight main categories: horizontal ( 一 ), vertical ( 丨 ), left-falling ( 丿 ), right-falling ( 丶 ), rising, dot ( ), hook ( 亅 ) and turning ( 乛, 乚, 乙, etc.). The Eight Principles of Yong outlines how to write these strokes, which are common in Chinese characters and can all be found in the character for yǒng ( 永, which translates as forever or permanence ). It was believed that practicing these principles frequently as a budding calligrapher would ensure beauty in one s writing. Four Treasures of the Study Four treasures of the study is an expression that refers to the brush, ink, paper and ink stone used in Chinese and other East Asian calligraphic traditions. The head of the brush can be made of the hair (or feather) of a variety of animals, including wolf, rabbit, deer, chicken, duck, goat, pig and tiger. The Chinese and Japanese also have a tradition of making a brush from the hair of a newborn, as a once-in-a-lifetime souvenir for the child

33 Seal and Seal Paste The artist usually completes their work of calligraphy by adding their seal at the very end, in red ink. The seal serves as a signature and is usually done in an old style. Horizontal and Vertical Writing Many East Asian scripts (such as Chinese, Japanese and Korean) can be written horizontally or vertically, because they consist mainly of disconnected syllabic units, each conforming to an imaginary square frame. Traditionally, Chinese is written in vertical columns from top to bottom; the first column on the right side of the page, and the text starting on the left. In modern times, using a Western layout of horizontal rows running from left to right and being read from top to bottom has become more popular. Signs are particularly challenging for written Chinese, because they can be written either left to right or right to left (the latter being more of a traditional layout, with each column being one character high), as well as top to bottom 69 70

34 Different Styles In Chinese calligraphy, Chinese characters can be written in five major styles. These styles are intrinsic to the history of Chinese script. Seal script is the oldest style and continues to be widely practiced, although most people today cannot read it. It is considered an ancient script, generally not used outside of calligraphy or carved seals, hence the name. The semi-cursive script approximates normal handwriting, in which strokes and (more rarely) characters are allowed to run into one another. In writing in the semi-cursive script, the brush leaves the paper less often than with the regular script. Characters appear less angular and rounder. The characters are also bolder. The cursive script is a fully cursive script, with drastic simplifications and ligatures, requiring specialized knowledge to be read. Entire characters may be written without lifting the brush from the paper at all, and characters frequently flow into one another. Strokes are modified or eliminated completely to facilitate smooth writing and create a beautiful abstract appearance. Characters are highly rounded and soft in appearance, with a noticeable lack of angular lines. In clerical script, characters are generally flat in appearance. They are wider than the seal script and the modern standard script, both of which tend to be taller than wider. Some versions of clerical are square, and others are wider. Compared to seal script, forms are strikingly rectilinear; but some curvature and influence from seal script remains. The regular script is one of the last major calligraphic styles to develop from a neatly written early-period semi-cursive form of clerical script. As the name suggests, this script is regular, with each stroke written slowly and carefully, the brush being lifted from the paper and all strokes distinct from each other

35 Project exam 3rd semester festival

36 KRISTIANSAND BARNEBOK FESTIVAL

37 KRISTIANSAND BARNEBOK FESTIVAL 2014 psst.. det er gratis SEPTEMBER 1-7.KLASSE NOROFF FAGSKOLE

38 PROGRAM ONSDAG :00-festivalapning med forestilling 1-4.klasse 10:00-12:00 kino-gubben og Katten 5-7.klasse 10:00-12:00 aktivitetsrom-tegning 12:30-15:00 aktivitetsrom tegning 12:30-15:00 kino-charlie og sjokoladefabrikken Tegnekurs med illustrator: Tone Bergan TORSDAG klasse 5-7.klasse 10:00-12:00 eventyrsti, odderoya 12:30-15:00 aktivitetsrom skrivekurs 10:00-12:00 hoytlesning fra forfatter 12:30-15:00 eventyrloype odderoya Barnebokforfatter: Jorn Lier Horst med boken kriminalteknikk FREDAG klasse 5-7.klasse psst.. det er gratis. 10:00-12:00 kino-pippi langstrompe 12:30-15:00 hoytlesning fra forfatter 10:00-12:00 aktivitetsrom skrivekurs 12:30-15:00 kino-pippi langstrompe Barnebokforfatter: Eldrid Johansen med boken Meg Ogsa

39 PROGRAM ONSDAG :00-festivalapning med forestilling 1-4.klasse 5-7.klasse 10:00-12:00 kino-gubben og Katten 12:30-15:00 aktivitetsrom tegning Tegnekurs med illustrator: Tone Bergan 10:00-12:00 aktivitetsrom-tegning 12:30-15:00 kino-charlie og sjokoladefabrikken TORSDAG KRISTIANSAND BARNEBOK FESTIVAL SEPTEMBER 1-7.KLASSE NOROFF FAGSKOLE 1-4.klasse 5-7.klasse 10:00-12:00 eventyrsti, odderoya 12:30-15:00 aktivitetsrom skrivekurs 10:00-12:00 hoytlesning fra forfatter 12:30-15:00 eventyrloype odderoya Barnebokforfatter: Jorn Lier Horst med boken kriminalteknikk FREDAG klasse 5-7.klasse 10:00-12:00 kino-pippi langstrompe 12:30-15:00 hoytlesning fra forfatter 10:00-12:00 aktivitetsrom skrivekurs 12:30-15:00 kino-pippi langstrompe Barnebokforfatter: Eldrid Johansen med boken Meg Ogsa

40 KRISTIANSAND BARNEBOK FESTIVAL KRISTIANSAND BARNEBOK FESTIVAL KRISTIANSAND BARNEBOK FESTIVAL KRISTIANSAND BARNEBOK FESTIVAL September 1-4.klasse Noroff Fagskole KRISTIANSAND BARNEBOK FESTIVAL September 1-7.klasse Noroff Fagskole KRISTIANSAND BARNEBOK FESTIVAL

41 KRISTIANSAND BARNEBOK FESTIVAL Torill-Irene Solheim Festivalsjef

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