OK. Going to outline exactly how the context publication will look/what it will contain, according to the mandatory requirements laid out in the studio brief.
Introduction
..to Nerdology; the word that defines a subculture that started with the resurgence of 'geek chic'. Being a nerd is an individual who engages with educational mediums with excitement, be it on a particular academic subject, or finding out who really shot first: Han or Greedo.
Nerds are shelved as isolated, socially inept beings who only go outside the house to buy the latest edition of New Scientist or to buy more xbox points, but in recent years the term is coined when a 'norm' observes said nerd engaging with an activity that is extra curricular or not attuned to their own social activities/engagements.
BASICALLY, the intro will be a definition of the term and how it applies to my practice. Essentially, nerdology encompasses every aspect of a designer/illustrator because a nerd is another word for a hoarder. Which is what the designer/illustrator does; hoarding information on a particular subject that defines a brief, or gathering a vast array of imagery that appeals/interests the individual and even down to the identity said individual brands themselves with.
The act of being a nerd is simply the designers profile; obsessive and seemingly all-knowing.
Rationale
I would probably lump this onto the same page of the introduction as they both primarily deal with this issue, since the rationale is defined by the content of the introduction.
Chapters/subsections
My initial idea was to break the context book down into relevant areas of interest which is reflected through my choice of briefs in context with the FMP. It also ties back in with the context publication (which at this point can be assumed will be taking form of a book due to the nature of my SOI).
Due to the vivid colours used in almost all my work, I will be keeping this theme running in the context book, with each section divided into coloured sections that have a splash page into the next section with a particularly inspiring or awesome quote.
SCIENCE
This section will cover the editorial/publication section of the context book, including illustrators and designers inclusively. The main focus of this section aims to define why science is so important in todays society with articles linked in from New Scientist, Eureka!, wired, the Guardian and other reliable sources. The section aims to demonstrate the importance of visual language in editorial design to help the reader understand often obtuse and obscure concepts, say for example explaining the importance of eukaryotes and how we share 11% or our DNA with this unique form of bacteria.
- Intro - Science is great and an important if not underrated and overlooked part of our society that relies heavily on ignorance and simplified concepts into a illustrated, digestable form. Here are articles from certain writers who confirm this and this should lead nicely into a section on adverts from the 1950s.
- Vis. Com. in the '50s - This is important as this era was a time when lots of new scientific discoveries were being disclosed to the public, who often found the new ideas confusing, so making adverts that adequately communicated the effectiveness of said new technology was detrimental to enlightening the unwashed masses. It looks at the designers who played a critical role in conforming to the aesthetic trends at the time and yet redefined them because of the role technology played in informing their work.
- Modern Information - This section covers the importance and relevance of the practice of visual communication in todays society. In particular, it looks at recent scientific journals/magazines that help eliminating ignorance and how certain individuals tackle complex briefs such as illustrating how fission works and how to work within set boundaries in context with a publication.
VIDEO GAMES
This section covers my main body of interest on all levels. (OH HO HO) In particular, I will cover all areas inclusive under this broad spectrum of design. My main interest and argument for the non-believers or n00b5, is looking in particular how video games are indeed works of art. Praising in game visuals is not restricted to the high end production values of new 'brown games' but a focus on celebrating the rise of indie publishers, kicking out sweet titles and sweeping the big boys under the table with innovative gameplay and visuals that would make Castle Crashers look like a Quentin Blake novel (in joke, apologies). With this in mind, the back of the book would have a glossary of terms for those less interested in the know-how of my mind, as well as being the pretentious nerd I try so hard not to be. The section would also look at illustrators that work in the biz, whilst exploring more textual based theory aspects of the genre, looking at the quickest changing industry in history and how it accompanies trends in reality, both in design and society.
- Intro - Video games as art, functioning aesthetic, escapism and entertainment through interactive story telling. What the chapter entails and what to expect. Why indie games are the saviour of the industry and allow for greater freedom and promotion than conventional medias.
- The art of gaming - This subsection explores in detail what sort of visuals make it into games, what influences artists/illustrators and how they are being implemented by some of the coolest people on the planet. Games such as Castle Crashers, mondo mondo, Chu Rocket and Shadow of the Colossus. Features on the illustrators/artists behind the games, what they do in their spare time and where they get inspiration from.
- Culture of Gaming - Defining the entertainment genre, why there are fanboys, who writes to sate the cynical masses and looking at designers who have gotten famous from their work on a culture that envies the success of films and hollywood. Interviews with designers/illustrators and why they love games, why they think they are important and a bit of a visual explosion on the subject with some juicy designs.
CARTOONS
I have out this section in because most if not all of my early inspiration comes from cartoons, since I was little I have always had a fascination with moving images and how drawings can come to life in such an invigorating and inspirational way. New cartoons have pushed away the once innocent images of my childhood which I thought were psychedelic enough, but the new age of animation has pushed even wackier and fantastical creations never thought possible. I could never do something as complex as animation myself, as I do not have the patience for it, but I have always appreciated the illustration, the process of creating backgrounds which often take way more time than the characters.
- Intro - Inspiration, why they are important, anecdotes and why they serve a purpose in todays media saturated screens.
- New Nostalgia - This part of the chapter looks at the comparison between both the old cartoon network/nickelodeon profile and how the shift in attitude and tone has redefined a generation. There will be interviews/Q+A from Pendleton Ward and others on how important it is keeping the genre going.
- Viewtiful Characters - This section covers the art/illustration of the cartoon worlds, and how all the elements contribute to a narrative and continuity not found in any other media say apart from video games. All that changes is the point of view and the level of empathy that the audience engages with.
I have purposely left out music since it is a personal interest that I do not think would translate well into the publication, since it would only have album artwork and poster design.
SO YEAH. This is the layout so far.
