studio brief 2

Design 1 is inspired by Cragg’s claim to be constantly pushing to find new relations to people and the material world. The logotype, is formed by taking the concept of human form, which in response creates an expressive tone to the logotype. The logotype has been manipulated form Vignelli’s initial typeface ‘Bodoni’, which has then been hand drawn over, in order to create a more looser form of type, with Cragg stating ‘if you make something with your hands, every change in line, volume, surface, silhouette, gives you a different thought or emotion’

Design 2 is inspired by Craggs most important design feature, stacking, of which Cragg states ‘stacking stuff up does create a role in my work today’. The logotype is based upon Bodoni, with taking 4 shapes from Cragg’s YSP featured sculpture named ‘point of view’ with layering the shapes in order to adhere to Craggs loose form. The concept is visually communicating an energetic logotype, whilst still incorporating Cragg’s style of work. 

Design 3 has been developed from the previous brief, with having the loose form of Cragg’s sculptures being the main inspiration. The logotype has become more of an ligature, with the joining of the letters. The texture of the curved lines was used in order to encapture Craggs’s ‘caught dreaming’ sculpture. The tone of the logotype is therefore a more casual, kinetic style, that takes Cragg’s free hand into consideration, reflecting his process.        

     

Design 4 has been inspired by the main theme of Cragg’s work stacking, however interpretated in a different way from design 2. With Cragg’s work using different shapes, using a variance of materials, the logotype was formed by sketching out some basic shapes and overlapping them in order to create the effect of what would happen if created in sculpture form. The design has been manipulated from Bodoni, creating a more dynamic design with the slanted shapes, of which adheres

to Cragg’s quote ‘there’s lots of dynamic energy involved in keeping form upright’.

Design 5 has been isnpired by Cragg’s title of the exhibition which is ‘a rare category of objects’ to which the idea of using a common object in order to create this logotype was thought of. The logotype has been made with pasta, with then additionally breaking them apart in order to represent the form and strokes that are found in Cragg’s sculptures. The result of the pasta has created a pattern like layerment keeping the original type anotomy of Helvetica.