The graphic image I chose utilizes a visual pun: I replaced the arrow of the bow with a violin bow. Visually this contains a lot more meaning than say just showing a violin with Mark's name over it. By using visual rhetoric I am forcing the viewer to take a second glance at the graphic and answer a question. This extra time needed to view the image to 'figure out' what is going on means the image becomes more memorable in the mind of the viewer thus greater success in advertising/design.
Project Process & Deliverables:
1. Research Mark O'Connor: listen to his music, read press releases etc. My research began on Mark's website listening to his music, reading his bios, getting a feel for who he is and his unique style of music.
2. Use mind mapping techniques to ascertain symbols, icons and indexes to do with Mark's style of music: this is a great way to work. I made lists of subject matter from which I could pull single ideas into a matrix and begin sketching graphic images.
3. Collect imagery that is in line with the symbols, icons and indexes, specifically looking at color, type, style and image: it wasn't until I'd bought and downloaded three of Mark's pieces that I really began to feel the passion in his music and hear the sounds and see the images associated with it. It wasn't until this point that I really began to connect with the possibilities in designing for Mark.
4. Present findings to class.
5. Come up with 30 sketched ideas using the following rhetorical tropes: pun, metonymy, synecdoche, metaphor, allegory, hyperbole, personification, antithesis, parody and irony and insert sketches into a matrix. The most common rhetorical tropes I found images for were pun, metaphor and antithesis–metaphor being the highest scorer at 8 different ideas. Some of the other tropes were harder to come up with ideas for.
6. Select three of the 30 sketches and iterate out into five more ideas for each: this is where possible layouts began to take shape. We still weren't focusing on text yet but I got to see a few different possible designs begin to appear for the final poster. For me these iterations used differences in color, some figure/ground and hierarchy (placement of text and image).
7. Class crit and one on one crit with teacher and students.
8. Now we transferred our sketches into the computer and made some more iterations, this time placing in the Folly logo and ticket information along the bottom. At this point I had two designs I was making. Unfortunately I had to ditch one of the ideas, it being too detailed for a drive-by poster on the street.
9. Tightening iterations: this was perhaps the lengthiest part of the project and probably the most detailed. However by now I was down to just the one design. It's amazing how just a few minor adjustments here and there to color and text can make or break a poster design. It was at this point I began to break out of my own box, to explore avenues I'd not gone down before–I researched two Swiss poster designers from the 1950's and 60s one called Armin Hofmann and the other, Josef Muller Brockmann. Their work was highly inspirational and gave me more hope in the placement of my text to better coincide with the overall image.
10. Final crit and poster assembly.
11. Presentation.
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