Final Major Project

An unexpected byproduct of the digital age is that it has become harder to forget than to remember. The energy needed to obtain information from either a hard drive or the Internet has diminished to almost nothing. It is less demanding to use a search engine than memorise and retrieve information for ourselves. I intend to design and utilise of a set of contemporary mnemonics to assist memory and recognition for the digital generation.

Serial Cut







Still-life of retro music items and souvenirs from Barcelona as main image from this 55th edition of a Classical Music Contest, images and still-life from a promo magazine for the world’s first non-dry gin: WET by Beefeater and a still life with a retro feel in which all the elements are suspended by fishing lines.

Akarte Atlier






Yet more visual research. After today it is banned and I am only allowed to post my own work.

Hattie Newman








Illustrator and set maker. Work includes Fedrigoni Mountains Installation produced for Fedrigoni in collaboration with Alex Ostrowski, a series of paper sets calling for people to enter the Media Guardian’s Innovation Awards, The Assembly made in collaboration with Container Plus, The World of YCN, Cardboard town made for Wonderclub’s production of ‘The Juniper Tree’ by The Brothers Grimm. The town was constructed in one day out of discarded boxes and became part of an interactive set around which the audience were encouraged to wander.

Kyle Bean



Airside




Airside have recently finished the design and animation for shelving company Vitsoe’s new site. Lovely opening animation on the homepage.

www.vitsoe.com.

Cinco




Bryan Dalton





Idaft

Tumblr

http://hannahelizabethgriffithsfmp.tumblr.com/ on second thoughts, I think I am just procrastinating and I am just going to stay here. And change the colours. Again.

Small Stakes






Not wishing to create the same aesthetic but incorporate the visual wit and bizarre imagery; often two completely unrelated elements are combined as is common with image mnemonics.

Paul Rand

How To





Rather helpfully these nice people have described the entire process of creating this piece so I have some idea of how elaborate it actually is. "We made a list of objects that were surrounding us, objects that were all around us on a daily bases, and that we use primarily for their own function. We placed them randomly at first to recreate a realistic desk, and mark them down after all to make sure we knew where each of them needed to stand for the filming."

Each element was filmed or animated using stop-motion on seperated sequence. By using plain colours as a background we were able to key each objects, giving us the opportunity to have them on transparent background. The shoot as been done in Montreal at Simon Duhamel studio.

After we cleaned up each images from their background, we numerically disposed them back on the empty table using After Effect. Jérémi Dallaire was the flash engeneer and made the link between the objects and each A to Z keys. There is no link what so ever between the keys that control the objects. The idea is to experiment with the actual scene without knowing which object the key will activate.

The sound design was made by Nicolas Burrows and René-Pierre T.-Guérin. Due to the distance between Leeds (Nicolas) and Montreal, we could not record the exact same objects as on what's on the table. Also, since most of them don't make any sense in the way they are animated (the melting eraser for example), it left place for a playground of experimentation.

Danse Dance



"Each day, we are surrounded by seemingly insignificant objects, taking them from one place to the other, or leaving them on a table for weeks, without paying any attention to them. We ignore or forget them, using things only when we need to, making sure they don’t interfere or inhabit our space. But what if they were not so stable and subservient? What if they could swivel, bounce or even fly. And what if they did so all at the same time? We want to imagine a place where objects could live and move, harmoniously, and of their own accord. Without interfering with each other these objects would bounce, roll, turn and cross each other’s paths. This experiment is about re-discovering our daily surroundings. Each object is assigned to a letter on the keyboard, and can be activated or deactivated at any time."

Juxtaposition and unusual activities of objects could act as memory triggers. Order objects move could dictate order of things to remember. Interactivity of piece also serves as a reminder. Environmental aspect adheres to to 'Memory Palace' formula to remember things. However production wise this is slightly out of my league.

Sticky Graphics



Found this little number on amazon today. Having got lost in the actual content of the work I have completely neglected to consider that the physicality of the outcome and how it's actual design (through use of typography, graphic wit and shock, metaphor language, scale, colour, image, materials, and composition as well as its interactivity including smell, sound, and touch can contribute to how memorable the content is. Since I am doing a GRAPHIC DESIGN OUTCOME I thought it might be useful.

"Colour, image and composition have the ability to create visual mnemonics, both individually and collectively. They have been grouped together in this section because they are usually the most effective in assisting memory when working together. For example colour combinations are frequently made more memorable though interesting shape configurations or contrasts in scale, whether they are used figuratively or in abstract context. Even when colours have been deliberately selected for their optical or illusory impact, it is generally the manner in which they are used and composed that brings about memory retention.

Images possibly have the most potential as memory devices. However despite shocking, unusual or unexpected subject matter being comparatively noticeable it is more likely that cropping, positioning, use of scale and use of colour in and around an image are what makes a design unforgettable. Comparisons of two versions of the same shot; One in a sensationalist tabloid newspaper and one in a supposedly more factual and upmarket newspaper demonstrate that the large closely cropped interpretation in the former is very difficult to forget. It focuses in the emotional, personal content of an event and will not allow viewers to escape from the heart of what is happening. Conversely, the photograph that contains more contextual information keeps readers at a distance: although they may be just as interested in what is happening they are less likely to remember what they have seen.

Image and colour can create strong mnemonics, photographs that capture unusual or striking colour relationships that are enhanced by momentary light in nature, or controlled lighting in studio, often have a 'wow' factor that is very memorable, when designers transpose accepted colours for unnatural or unexpected ones, this two can make the image stick in the memory - a blue daffodil, a green cloud, or bright purple letterbox for example, would grab attention, and are likely to be easily remembered. Relationships of simple images and colours, particularly within the context of branding, can take on iconic or symbolic roles that become remembered. Flooding the marketplace is bound to make these brands familiar to a vast spectrum of people, but considerably less publicised icons and symbols can also be remembered for their unique shapes and colour combinations. Even typographic configurations that have distinctive shape and colour come into this category, as they are recognised and remembered in a similar manner to images.