28 October 2009

April Greiman And Post-modernism Essay

Looking at April Greiman’s work it is easy to spot her as a contemporary designer. Greiman was instrumental in bringing in the style “New Wave” to the States. This style was a rebellious approach to compositions and type forms. Disregarding the practiced disciplines “New Wave” experimented with spacing, type weight, and angular type changing the way we viewed not only the words we read but how we read them and viewed the space they sit in. Throughout her work Greiman has pushed the boundaries of how we view type and composition, but the Swiss influences are often evident. Armin Hofmann, a tutor of Greiman was also one of the leading figures to develop the “Swiss Style” in the 1950’s. This was a style of typography that focused on cleanliness, legibility and objectivity. This was a great influence on Greiman, this method of viewing type and it’s space was the starting point Greiman used to move further, stretching the boundaries of view points to the point that it would become “New Wave” as we know it today. In the mid 80’s Greiman was able to take these ideals further with the introduction of the Macintosh (Mac) computer to design world. She was one of the first to embrace the new design tool leading the way for many more designers and acting as an icon for female designers across the globe.


The 1970’s saw Greiman graduate from the Kansas City Arts Institute before studying in Switzerland at the Allgemeine Kunstgewerbeschule in Basel. By 1975 she was working with Emilio Ambasz in New York’s Museum of Modern Art, before swiftly trading coast to open up her own graphic design studio “Made In Space, Inc.” by the end of ’76. Through out this time heavy oppressions seemed to lie over America. The Vietnam War was only just coming to an end and as it did Nixon’s “Watergate Scandal “ was just beginning to surface, the people were starting to feel disillusioned by their government and its propaganda. Work forces began to revolt and the 70’s saw many strikes across a variety of businesses. The people of America were fed up with the conditions they had been told to live with and decided to make a stand. In a graphic sense Greiman could be said to have made this stand in her own way through contemporary, fresh and rebellious type forms that threw away old methods and made a stand on open mindedness and new ways of thinking.

The anger of the 70’s ebbed into the consumerist 80’s and brought with it a return to economic growth. The “War on Drugs” had accelerated and the general attitude of society was changing. People had more of an inward attitude based on materialistic goods and self-image. These persuasions were helped by the advertising industry utilizing TV and movie stats of the time to advertise “must have” products in a way not seen since the 20’s, selling happiness at a price. I don’t see Greiman’s work as a reflection on this aspect of her surrounding culture at that time, but rather focuses more on the concepts behind the individual piece while reflecting the excitement surrounding the new digital media available to the design industry. It wasn’t until the 80’s that we really started to see women becoming more accepted and present within the work place. Concepts such as addressing women as Ms instead of Miss or Mrs were brought forward in the search for gender equality and as a stand against conventional views attached to the status of their title. This attitude towards gender (also referred to as post-modern feminism) is a strong example of post-modern ideals pushing through, as women were once again making a stand against the traditions of society in order to gain equality and their own individual identity. Greiman could be considered an icon in this respect especially to the women of this time; boldly tackling the challenges of the existing industry while embracing the new often quicker and more openly than most around her, producing prolifically and building up her own studio from the ground she never let society or situation oppress her and has followed her ideas and intuition throughout her working life, becoming a pioneer in her field.






From the commission of the 1984 Olympic Games poster in 1981 through to the work she produced for the Walter Art Center travelling exhibition 1989 Greiman had produced many ground breaking contemporary pieces not least of which was inspired by the arrival of the Mac. Greiman had been experimenting with ways of producing her work years before the mac’s arrival. Even from the beginning she was a pioneer in influencing people to experiment with their equipment and by trying to utilize the latest technology as her latest design tool. These examples were created by a couple of years before we were gifted the mac. They are experimental pages created using an analog computer, synthesizers, and live video input. Today these images could be easily reproduced on a Macintosh but to see the amount of creativity and thought that went into producing these experiments is inspiring. April Greiman has studied and worked through the postmodernism age, and while gaining from the reproducibility of art work also seemed to work under the postmodernism ideal of image consumerism and as explained (Appignanesi : 1995 p 49) reproducing products that would replace a space of reality with a hyper reality



When you look at an early piece of Greiman’s work (pre Mac) you immediately notice her familiar bold style. As well as using a variety of tools to create her work you will also see a midst the seemingly chaotic layout, a mix of style within her work. A mix of Art Deco and Art&Craft or Ornamental Pattern making come to mind. Bringing different styles of design together this way is otherwise known as “Radical Eclecticism”, a common theme in a lot of post-modern design. In other similar works Greiman often included photography (provided by associate Jayme Odgers). Situated within her work it added a sense of surrealism and another element to her style of “Radical Eclecticism”. As you can see in her work for wet magazine (1979), Greiman was already comfortable with pushing the boundaries of design. Throughout her work she has always challenged aspects such as space and linearity, and seems to have always held this post-modern view of their being no true structure to design and that there is no set path; the way forward is experimentation


(Post Mac) Looking at the poster “does it make sense?” 1986 you can see it as another example of “Radical Eclecticism” from April Greiman. The mixes in style in this piece stretch from Neolithic style illustrations to contemporary photography, digital manipulation and crossing fields’ incorporates scientific diagrams within the composition. I like this piece, as it’s a collection of elements relating to man, from the beginning of our time to present. Segments and ideas are pulled apart and pieced back together in an abstract way (a process and technique Greiman often used in a lot of her work), and then we’re asked, “does it make sense?”. Although she had used pixilation in her design long before the Mac came along the new technology definitely helped make this process easier to produce. It is in works such as this one that you can appreciate the economical value of the Macintosh as a design tool. There was fewer amounts of paper and waste at the end of experimentation processes as the design world were working towards manipulating light instead of matter. “Globally, Culturally and economically we are all moving from working with matter to working with light. With the Macintosh we’re manipulating light” (Farrelly : 1998 p8). This comment paints Greiman as an “Economical Post-modernist” of her decade, focusing on not only how or what she is producing but also how it would affect the world and the people around her. This is not the attitude of society that jumps to mind when I think of the 80’s, it stands as an example of Greiman’s open mindedness and spirituality, something that is evident in her life as well as work. It was shortly after producing this piece that in 1987 Greiman rightly won the National Endowment for the Arts grant for computer graphic studies and within the same year was also awarded a Hallmark Fellowship.

April Greiman, Design Quarterly N.o.133, Poster, 1986


By the beginning of the 90’s Greiman was working with “Sci-Arc” a Californian Institute of Architecture established around the 1970’s. Up until meeting Greiman the institute had not discovered their own graphic identity. This was a major commitment on Greiman’s part; she adopted the position and with her own style created their fixed identity as you see it today. The logo itself pulls at a post-modern attitude towards form. The name stretched and twisted, not only does away the with conventional ideas held around type but also, as it appears as a 3D object we are reminded of a flat piece of wood or metal that has been twisted before being captured for the image. This gave it another quality with its concept as the institute it was designed for study and develops the manipulation of such materials. Greiman to this day is a prolific designer, always looking for the new and unexplored regions of design and it’s processes and still displaying that Greiman energy and post-modern spirit within her work.




Book Refrance:

“No More Rules. Graphic Design And Post-moderism”

Rick Prynor

2003/Yale University Press

*********

“Introducing Postmoderism”

Richard Appignanesi

1995/Tien Wah Press

********

“April Greiman. Floating Ideas Through Time And Space”

Liz Farrelly

1998/Thames and Hudson Ltd. London

***


Website Referance:

http://www.aiga.org/content.cfm/medalist-aprilgreiman

http://www.madeinspace.la/home/home.html

http://www.britannica.com/EBchecked/topic/1080159/April-Greiman

http://www.artandculture.com/users/36-april-greiman



22 October 2009

April Greiman And The Politics Surrounding Her

Looking at April Greiman’s work it is easy to spot her as a contemporary designer. Greiman was instrumental in bringing in the style “New Wave” to the States. This style was a rebellious approach to compositions and type forms, disregarding the practiced disciplines “New Wave” experimented with spacing, type weight, and angular type changing the way we viewed not only the words we read but how we read them and viewed the space they sat in. In the mid 80’s Greiman was able to take these ­­­ideals further with the introduction of the Macintosh computer to graphic designers. Greiman was one of the first to embrace the new design tool leading the way for many more designers and acting as an icon for female designers across the globe.


The 1970’s saw Greiman graduate from the Kansas City Arts Institute before studying in Switzerland at the Allgemeine Kunstgewerbeschule in Basel. By 1975 she was working with Emilio Ambasz in New York’s Museum of Modern Art, before swiftly trading coast to open up her own graphic design studio “Made In Space, Inc.” by the end of ‘76. Through out this time heavy oppressions seemed to lie over America. The Vietnam War was only just coming to an end and as it did Nixon’s “Watergate Scandal “ was just beginning to surface, the people were starting to feel disillusioned by their government and its propaganda. Work forces began to revolt and the 70’s saw many strikes across a variety of businesses. People were fed up with the conditions they had been told to live with and decided to make a stand. Greiman in her own way did this graphically through contemporary, fresh and rebellious type forms that threw away old methods and made a stand about open mindedness and new ways of thinking.


After WW2, up until the 70’s the U.S. had enjoyed years of economic growth. As Greiman returned to the States she was met by an all time high in unemployment, the value of the U.S. dollar was sinking along with it’s nation’s spirits and an energy crisis which would soon give way to the oil crisis of the 80’s. Despite this Greiman’s visions stood strong. With the consumer age of the 80’s we were also presented with the Macintosh, as Greiman jumped on the idea of utilising this new machinery she also saw it as an economic tool from which we moved away from working with matter (creating waste) and towards working with light.


The film industry had flourished throughout the Vietnam War surviving on pumped up noble war themes and heroic tales but as the attitude of the nation was changing it was not lost on the industry. Films such as “The Presidents Men”(1976) were brought out in reaction to the government and incidences such as “The Watergate Scandal”. Towards the end of the decade the anger and the steam had ran dry it seemed and into the 80’s people began to look more towards escapism in their leisure time, hence the release of films such as “Star Wars” (1977). But beyond the stage stars were starting to be utilised more for the way they were perceived by public to advertise and feed the society the idea that they could have everything too, all they had to do was go out and buy lots of possessions so that they could be glamorous and happy just like the people on screen… welcome to the 80’s, the birth of “The Me Decade”. This inward attitude of a materialistic and selfish society is not one Greiman embraced. Her work through this decade to me does not reflect necessarily any general view of society at that time, but rather focuses more on the concepts behind each individual piece of work and reflects the excitement surrounding new digital media available to the design world.


Throughout her work Greiman has pushed the boundaries of how we view type and composition, but the Swiss influences are often evident. Armin Hofmann, a tutor of Greiman was also one of the leading figures to develop the “Swiss Style” in the 1950’s. This was a style of typography that focused on cleanliness, legibility and objectivity. This was a great influence on Greiman, this methid of viewing type and it’s space was the starting point Greiman used to move further, stretching the boundaries of view points to create the style “New Wave” as we know it today.

21 October 2009

Ivan Maximov / Иван Максимов

Ivan Maximov is one of my favorite animators. Although he's a Russian animator i do see similarities in the work of American animator Terry Gilliam, also known for his work on Monty Python. I find Ivan's work to be much more abrstact and often with a darker atmosphere.






(Examples of Terry Gilliam's work)





Dr D





20 October 2009

Society's Voice

The thing that appeals to me so much about bathroom graffti is the fact it's the voice of society uncensored. From art work to poetry, philosophy or just the need for a good rant the stalls stand as the public's canvas acting as a real reflection of todays world.


Found Gems (more coming soon)...
Manchester (unknown)



This is a book i discovered some years ago by Mark Ferem called Bathroom Graffiti. The name is pretty self explanatory as it's a collections of public restroom graffiti from across the states. I love the idea that someone has gone out to collect all these voices and documented them in a way we all wish our opinions could be heard.







19 October 2009

Open Plan


These are a few examples of posters I used to produce for a manchester monthly dubstep night that ran for about a year.






This is a spin off night of Open Plan's, it includes professional and novice dj's alike from a variety of electronic music genres to come down and give it what they've got. The winner as voted by the crowd will get a set at the next Open Plan night.

Inkahoots

Inkahoots are an Australian advertising company that pride themselves on being ethical. Starting out over 15 years ago as a group of rebel artist focused mainly on screen printing, they've now grown into a multi-disciplined design studio who's primary concern is always the message they are trying to communicate and not necessarily the welfare of the client or company employing them to do so.

Graphic Design for the 21st Century by Charlotte & Peter Fiell



Inkahoots, Poster Design 2002



Inkahoots, Typotastic (issue 4)



Inkahoots, Package Design

16 October 2009

% Design Is..

Percentages shown as part of people, represented with tattoo on the arm/hand


Percentages represented with photographs


Percentages taken from a cutting mat

(Initial Ideas)


(Development Of Chosen Idea)



(Final Poster)

For this assignment i was given a percentages list of everyday aspects that make up design, e.g 3% the idea, 2% tea, 0.7% estimates 70% dealing with people etc. It was my job to communicate this idea to the first year graphic students in a suitable and noticeable manner. I chose the cutting mat to represent my percentages as it is a frequent tool of design and very recognisable to graphic designers everywhere. Originally i had hoped to take a real cutting mat and find a workshop that could take the sections i had applied for the percentages out of the mat itself. Time pressing i decided to scan a cutting mat from the first year studio in sections, piece it together and apply my percentages in illustrator. This worked nicely and left more room for correcting errors with layout. I used the different shapes so that the bracket the percentage size falls into (less than 1%=circle) would be easy to associate so you wouldn't necessarily need to read the number of every percentage to get the gist.



Who Is This

This assignment involved working with a partner and was split up into sections. We were given a picture of a person each and with out conferring had to write up a life story then swap the pictures and write a story for the second person.


The Story Of Clive by Nicola Sullivan

Clive was your normal everyday family man, with an average nine to five living in your typical suburban house with his wife and daughter. Every morning before work he’d get up at the same time, drink his morning coffee and be out of the door before any stir from his family. On the unfortunate mornings his wife Anna happened to be awake he would always be met with a sour face and grumbles of disappointment, ever reminding him of this mundane life he had fallen into. His relationship with his daughter wasn’t much better. Granted life with any fifteen year old is never easy as a parent even in the best of families but Sophie for years now had taken a page from her mothers book and held the same opinion of this weak willed, boring, hopeless man as her father. Clive knew this and carried it with him every day.

His work life brought little joy either. Having your bog standard accountancy job there was little excitement to offer (besides the occasional fantasy of freefalling from the roof of his office). At forty seven, after twenty two years of his laborious routine and of being constantly unappreciated, demeaned and looked down on at home as well as work Clive really did feel hopeless, he just couldn’t see an end.

Throughout his life he had never been much of a drinker, yet over the course of turning forty five and with what little change this mile stone brought the need for a creature comfort of any kind. It started with a couple a week “just to avoid rush hour traffic” but quickly turned into five a week just to have some form of light at the end of the tunnel before stumbling into the resentment hole of his home.

It was on an autumn evening after the usual grief at work and with an extra pinch of salt from his wife that morning that Clive made the mistake of having that extra pint before facing his commute. “It’s only one more” he told himself and thought if he ate he’d be fine. He left the pub around eight, a little rosy cheeked and in no condition to legally drive. He drove five miles under the speed limit and was feeling confident that he wouldn’t be pulled… CRASH! And there it was. He’d rear ended another car. He was sure the car had come from nowhere and swore he’d seen no lights. To an extent he was right. A bitter sweet incident, Clive had hit mobsters car on it’s swift exit from a job. Now neither one of them wanted to involve the police and Clive having far from having the money to make the problem disappear had little choice but to except the mobsters offer in the hope that the problem would soon disappear. It had been over a year since the accident. That was a year of handling packages, relaying messages and playing the mule, all for that extra pint. He couldn’t deny that the mob had brought excitement into his life but it really wasn’t the kind he was ever looking for; once again he had fallen in to a situation that seemed to have no end, and one he was scared to try and get out of. It was a fight or flight moment. Clive knew there was no point in trying to reason with the Mafia but the stress was slowly killing him, even his wife and daughter had taken pity on occasion despite the fact they knew nothing at the time; the mob knew his family, his home and his place of work. If he was going it would have to be for good and as confused and angry as they may be he had to take his family with him. So there it was, the 11th February 2006 was the last time anyone saw Clive or his family. Their whereabouts is still unknown.

The Story Of Peti Rasmussen By Lucy Timon






The Story of Maria by Nicola Sullivan

Maria doesn't remember much of her childhood growing up in Spain. She was only seven when her parents decided to emigrate to the U.S. Despite this Maria and her brothers were always brought up with strong family and catholic traditions. Today she is your typical middle aged, house proud, family orientated woman. But still, not with out her own tales of woe to speak of.

Growing up with two older brothers Maria had always been a bit of a tomboy as a child. She was loud and although never that big could still hold her own In a scrap. The contrast to this was that she was always very quiet in school and was often teased for her Spanish up bringing. Until the day she snapped; a small shove from one of her usual tormentors was all it took, and Maria saw red. After beating the girl senseless she never really received the torments again. And after her suspension still never made a real friend throughout school. It was this isolation from her piers and the constant criticism from teaching staff that drove Maria further into herself and by the end of school only left with one qualification, in Home Economics.

With school finally a thing of the past Maria looked forward to her future with optimism but wasn't sure where to start. Adamant that their daughter would contribute to the house and find her own way Maria was sent out every day after finishing school to go and look for a job. The first she found was a job helping an old lady to clean her house three times a week as well as running errands like shopping etc. Maria and the lady got on well and would often share some free time to play a card game or just chat. This situation would unfortunately not last for long. After working there for only a couple of months the old lady past away. It was her time and a peaceful passing, but really a shame that it would be Maria who finds her. This was an image Maria has never been able to shake; she would carry that experience with her for decades.

It wasn't long before Maria's parents started started to push her to look for a new job. Halfheartedly she would meander into agencies, shops and bars until she came across a vacancy for a waitress in a small rundown cafe, at least an hour away from home. “Temporary she told herself”. Thirteen years pass, the cafe is still standing and Maris still working, wondering what happened to the last decade... and what the hell would she do for the next? It was in one of these moments of reflection that she noticed a customer and unbeknown at the time her future husband walk in. It started out as a bit of fun, but that fun turned onto a relationship and then even marriage, based purely on the fear of being alone.

Needless to say it wasn't the best of marriages. There was no real love and over the years the resentment they both harbored for each other drove them both to drink. For ever it seamed they played their roles of their farcical marriage and even with the introduction of their son it could not last. The lack of passion that turned into eventual resentment was enough for Maria to take her son leave and never look back, despite her strong catholic upbringing.

Today Maria combines her Home Ec and Spanish cookery knowledge, and putting it to good use confidently teaching Spanish cuisine cooking and baking for beginners.


The Story Of Anna Segal by Lucy Timon

Anna Segal was born in Prague in 1931, she had a twin called Nela; both came from a very close happy family. Her father was a baker and her mother although a natural cook had dedicated her life to looking after her two daughters. The girl’s parents were very kind generous people who were loved by everyone, especially for their baking skills. The Segal’s made the most incredible cakes, bread and pastries throughout the city, of which Anna was especially proud. From as long as she could remember Anna had been so eager to learn her parents and decided from an early age that she would stay in the family business and to one day become a famous cook. Anna and Nela had enjoyed a picturesque childhood until the year 1939 when both girls were sent to England. They were sent to escape the poor camps of the holocaust and the horrors to be left behind. They were devastated to be parted their loving parents but as Anna held on to her sister tight believing that everything would be fine so long as they were both together. The train was completely full of many other orphan children, although the sisters managed to find a small compartment where they were able to sit together comfortably. Anna was a talented storyteller so comforted her sister by telling her favourite stories. Later the girls opened their small rucksacks to find that their parents had left them both their favourite pastries from their father’s bakery. Nela grabbed her cake and wolfed the sweet as quick as she could, whereas Anna slowly savoured her cakes vowing to never forget the beautiful flavours.

The journey was three days long and so exhausting they would never forget it, as the train finally pulled into their destination in London the girls were suddenly filled with joy and so much relief they had finally made it! A man called Nicholas Winton took their details and led them to be greeted by a very happy and young looking man and woman. Mr Winton introduced the couple as Mr George and Mrs Margery Acton. The twins were told that they were going home with the happy couple and Anna felt a great surge of gratitude towards both of them. Despite the love they were shown at their new home life for the first few years, especially at school was difficult with the other children. They were teased because the girls didn’t know much English to begin with and the other children were too ignorant to consider the girl’s feelings and what they were going through.

Ten years had gone by and the girls were living happily with their adoptive parents, the war had ended in 1945 although the girls never heard from their real parents again which left them deeply devastated. Although Mr & Mrs Acton had treated the girls like their real children and showered them with love and affection so both had a very happy upbringing. Now that the girls were 19, they had both in school and were heading out into the real world: Nala always had an ambition to become a nurse so that she could do a bit extra to help people. Whereas Anna always felt that she needed to follow her childhood dream following her parents footsteps and open her own bakery. She was determined to create wonderful tasty sweets and cakes like her parents and would recreate the same tastes that their food had. So each of the girls went on to pursue their dreams, Anna hoped that by doing this they would be making their parents proud.

As the years went by Anna’s hopes had come true, both her and her sister had worked hard and got the jobs they had dreamed of. Nela had become the nurse and was head of her ward, and Anna had finally got to open her dream bakery. She named the bakery “Segal” after her parents, and spent years with her sister trying to perfect her food. She wanted her food taste exactly how she remembered it from her childhood in Prague and finally in 1959 she opened her bakery doors and people were in awe of her food. Each of her cakes was a taste of her childhood and she was so proud that her family recipes would live on. Unlike her sister Anna never married, she had given her life to her dream and her parent’s memory; neither of the sisters ever had any children of their own, both always telling themselves they were to busy and not willing to take time away from helping the people around them.

In 1970 Anna & Nela decided it was time for them to return to their homelands, neither of them had ever been on holiday and believed it was time for a rest, and time to go and see home. They were so excited they both got their passports and had their passport photos taken for the first time. On the big day they were up early and extremely excited to be going home they couldn’t stop smiling and laughing. Anna was driving to the airport, which was something she didn’t normally like to do, as the roads were always so busy and stressful.


(we then had to choose a story out of the four to work with and incorporate any information we wanted from the story not chosen of that picture)


The Story Of Anna Segal - Combo

Anna Segal was born in Prague in 1931, she had a twin called Nela; both came from a very close happy family. Her father was a baker and her mother although a natural cook had dedicated her life to looking after her two daughters. The girl’s parents were very kind generous people who were loved by everyone, especially for their baking skills. The Segal’s made the most incredible cakes, bread and pastries throughout the city, of which Anna was especially proud. From as long as she could remember Anna had been so eager to learn her parents and decided from an early age that she would stay in the family business and to one day become a famous cook. Anna and Nela had enjoyed a picturesque childhood until the year 1939 when both girls were sent to England. They were sent to escape the poor camps of the holocaust and the horrors to be left behind. They were devastated to be parted from their loving parents but as Anna held on to her sister tight believing that everything would be fine so long as they were both together. The train was completely full of many other orphan children, although the sisters managed to find a small compartment where they were able to sit together comfortably. Anna was a talented storyteller so comforted her sister by telling her favourite stories. Later the girls opened their small rucksacks to find that their parents had left them both their favourite pastries from their father’s bakery. Nela grabbed her cake and wolfed the sweet as quick as she could, whereas Anna slowly savoured her cakes vowing to never forget the beautiful flavours.

The journey was three days long and so exhausting they would never forget it, as the train finally pulled into their destination in London the girls were suddenly filled with joy and so much relief they had finally made it! A man called Nicholas Winton took their details and led them to be greeted by a very happy and young looking man and woman. Mr Winton introduced the couple as Mr George and Mrs Margery Acton. The twins were told that they were going home with the happy couple and Anna felt a great surge of gratitude towards both of them. Despite the love they were shown at their new home life for the first few years, especially at school was difficult with the other children. They were teased because the girls didn’t know much English to begin with and the other children were too ignorant to consider the girl’s feelings and what they were going through.

Ten years had gone by and the girls were living happily with their adoptive parents, the war had ended in 1945 but it had been many years since the girls had heard from their parents. Once the war had ended the girls had hope of see their family, but it was short lived; they were left deeply devastated. Although Mr & Mrs Acton had treated the girls like their real children and showered them with love and affection so both had a very happy upbringing. Now that the girls were 19, they had both in school and were heading out into the real world: Nala always had an ambition to become a nurse so that she could do a bit extra to help people. Whereas Anna always felt that she needed to follow her childhood dream following her parents footsteps and open her own bakery. She was determined to create wonderful tasty sweets and cakes like her parents and would recreate the same tastes that their food had. So each of the girls went on to pursue their dreams, Anna hoped that by doing this they would be making their parents proud.

As the years went by Anna’s hopes had come true, both her and her sister had worked hard and got the jobs they had dreamed of. Nela had become the nurse and was head of her ward, and Anna had finally got to open her dream bakery. She named the bakery “Segal” after her parents, and spent years with her sister trying to perfect her food. She wanted her food taste exactly how she remembered it from her childhood in Prague and finally in 1959 she opened her bakery doors and people were in awe of her food. Each of her cakes was a taste of her childhood and she was so proud that her family recipes would live on. Unlike her sister Anna never married, she had given her life to her dream and her parent’s memory; neither of the sisters ever had any children of their own, both always telling themselves they were to busy and not willing to take time away from helping the people around them.

In 1970 Anna & Nela decided it was time for them to return to their homelands, neither of them had ever been on holiday and believed it was time for a rest, and time to go and see home. They were so excited they both got their passports and had their passport photos taken for the first time. On the big day they were up early and extremely excited to be going home they couldn’t stop smiling and laughing. Anna was driving to the airport, which was something she didn’t normally like to do, as the roads were always so busy and stressful. Although on this occasion she didn’t mind one bit! Anna and Nela were so busy being happy and chatting about their plans when they returned to Prague they didn’t notice a cyclist crossing the road in front of them. Anna looked up and noticed the cyclist and immediately swerved to avoid him. Unfortunately she lost control of the vehicle and crashed into a brick wall. The damage was catastrophic, immediately crowds of people tried to come to help although it was too late. Anna died on her way to the airport with her sister Nela.









(Visual Research Examples)

Teesha Moore: This is a designer suggested for inspiration by Lucy. We followed some of the same ideas but kept our overall layout cleaner and didn't use as much of our own illustration.













(Final Poster)

The final poster's colouring is faded in this example as it's a photograph and not a scan but i think in the style of Teesha Moore this poster works well. It's a collage effect that incorporates all the major points of the final story as well as having the information we were asked to give which lies on the label. The only aspect i don’t like is the brick’s at the top of the design. I think they need repositioning.