This workshop further informed software skills, with direct regard to Adobe Illustrator. In this specific workshop, subjects of focus included- the creation of renderings, monograms, and how Illustrator can be combined with Adobe Photoshop.

Part 1: Renderings –

This initial demonstration and task specifically involved the creation of quick renders, produced to mock-up an idea before it is physically produced.

Left – Wire-frame. This is the starting point, where an outline must be created. This is produced using the shape tools and the pen tool, adjusting curves of corners and anchor points to produce the intentional shape.

When creating the inside curved square for the watch face, I duplicated the object using the ‘object – path – offset path’ menu. This ensured that the square was automatically positioned to have symmetrical spacing/ distance from the outside square. This provides the certainty that the render is as perfect and as possible.

Another method of implementing perfection was when using the pen tool for the strap, I drew up to the half way point, before duplicating the path and using the ‘object – transform – reflect’ menu. This strategy provides assurance that each side is a mirror image, projecting a sense of professionalism. the shortcut cmd + J was used to join these two separate paths and create one constant, flowing line.

Middle – Flat colour study. The next stage in producing a detailed render is to assign colour to the shapes, achieved through the use of the eyedropper tool. The buttons on the right hand side were deliberately darkened to make them stand out as a visual.

Right – Gradient study. The final aspect of this task was to apply gradients to the colour render, informing a more ‘realistic’ image.

Screenshots above document an example of how these gradients are applied. In this instance, I was applying a gradient to the outside metal section of the face. I deliberately intended the edges to appear darker, as though the point of light was meeting the watch face head on. This also informs the idea that this component would be curved in nature.

This screenshot documents how blurs have been applied both above and below the watch faces, underneath watch as a whole, and also to create a ‘highlight’ and curve on the top of the watch screen.

The blur specifically shown above was deliberately positioned on a layer underneath the face to exaggerate contrast seen between the screen and strap. The layer transparency style was adjusted to ‘multiply’, which provided a nicer colouration. Additionally, the opacity was significantly reduced to give a more subtle blend approach.

Each of these gradients and blurs provide depth, making the render appear as a more realistic product, mimicking a three dimensional visual appearance and creating an overall professional product appeal/ render.

Part 2: Gestalt Principles 

The next section of this workshop revolved around constructing an understanding of Gestalt Theory. The above Youtube videos served as reference resources, making this Gestalt’s principles very easy to understand and interpret. The consideration of each of these will be beneficial and induce focal potential when creating graphic work.

Gestalt theory refers to the way in which visual information is grouped together and translated to an audience, considering specifically the relationship between visual components. This theory involves 6 separate assets of unification, these being: visual continuation; similarities in form and shame; closure and use of negative space; layout and compositional proximity; symmetry and order; and finally, figure and ground. Each of these terms reflect different methods of which objects can be grouped visually and recognised as being associable with one another.

Gestalt psychology was introduced by psychologists Max Wertheimer, Kurt Kafta and Wolfgang Kohler.

Examples: Gestalt principles can be especially noticed throughout many successful logos, providing visually enticing imagery, constructed of unique and memorable unified form and shape.

1. Continuation

The first principle of Gestalt psychology is continuation, relating to the natural navigation of eye-line direction. Each of these logos demonstrate this aspect.

2. Closure / Negative Space

This next principle refers to the use of space between components. Providing that enough of the shape is present, the brain subconsciously completes the image despite their being gaps of negative space.

3. Similarity

Similarity presents the subconscious link we make between aspects of an image based on shared visual assets. For instance, despite the fact that each of the peacock feathers are different colours/ rotations, we can still recognise that the shape is consistent throughout. We use this recognition to make a visual association and imply a relationship between elements.

4. Proximity

Proximity is another of the Gestalt principles which allows us to group visual content. This refers to individual elements that are situated closely together, and so we establish a unified connection between the forms.

5. Symmetry 

Symmetry reforms another principle of this theory, referring to visuals that have symmetrical compositions. This not only improves visual qualities, but also helps inform the idea of the shapes and forms existing to be part of a unified group.

6. Figure and Ground

The final Gestalt unification principle refers to the visual collaboration of image subject and background, and how these can be adapted to become one. Background and subject shapes are utilised and combined to deliberately inflict a playful metaphor, translated through the use of negative space. This often reveals meaning through depth, giving a dual image approach. Examples above display some logos which use this effect, which can have powerful visual stance.

Mini Task: Creation of my own Monogram –

The aim of this task was to create a personal monogram, to produce a logo. To fulfil the requirements of the brief, we were restricted to only using our initials, as well as a choice of the following three words- creative, studio or design. In addition to this, we were only allowed to use black and white tones.

Embedded below is a screenshot of my Adobe Illustrator working document, displaying inspirational reference to influence potential editorial strategies. Visual development can be noticed throughout the progression of the artboards, following self-review of visuals created so far.

On reflection of these outcomes, a personal preference was taken towards the second to last monogram, as I like the way this appears as a completed logo visual. Aesthetically, the letterforms appear to be stylised collectively, taking into consideration self identity and what the visual stands for, and the nature reflected in the editorial nature.

This specific outcome is documented below.

To create this, I used a clipping layer in Adobe Illustrator, to mask the text and the circular background form to create one visual with cut out sections. Another software skill I applied was the alteration of anchor points, where I removed a section of the ‘H’, before inserting an additional point to maintain a similar angle as seen in the ‘K’. With the ‘K’ letter, I also adjusted the lettering path, to deliberately separate the spine on the left from the arrow form on the right. This was intentional in order to exaggerate the pointed visual aspect.

When creating this logo, a consideration of Gestalt psychology was considered, especially with specific regard to the closure principle. A significant section of the letter ‘H’ was removed, however, enough of the original form is still visible, subconsciously allowing a viewer to still translate meaning.

In addition to this Gestalt principle, I also attempted using collective association achieved through proximity. No singular letter component exists as a whole, where instead, three different shapes are positioned next to one another to make up this logo. Due to our human nature of frequently interpreting type, we subconsciously put the shapes together to envision the letter, despite there being no real letters there.

All three variations I created of this logo design are embedded above, created for diversified purpose, mostly dependant upon background imagery/ tone.