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hannahlstanley · 4 years

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Unit 2-Visual Thinking. Pick, Pack and Sell.

Evaluation

What informed and motivated my design decisions?

My design decisiones were motivated by the research that I carried out throughout this project. I was inspired by the bright colours and illustrations used on the designs of packaging on a lot f kid’s product sets.

My research into different nets also had an influence in the final design of the packaging. This is because the net that I was aiming to create had to both appeal to my target audience and to also have good functionality.

When creating the adshel poster, I was inspired by the artist, Frank Verlizzo. I was inspired by the way he uses bright colours, and harsh black lines in his poster designs. I think that this makes them stand out from the other poster designs.

I was inspired by children’s cartoons when creating the animated adshel poster. I wanted the panda to have a character and personality in order to make my target audience more likely to remember the advert. I was able to achieve this by animating the panda’s eyes which made it connect more with the audience.

My illustration style also played a big part in influencing my design choices for my adshel poster and my animated adshel poster.

My aim was to create a consistency throughout the packaging, adshel poster and animated adshel, therefore the illustration style on the packaging dominated my ideas for the kind of design that I wanted to create for the adshel and animation.

What changes and developments has my project gone through?

Throughout my project, I have made change in order to develop my deign ideas. A major change that I made in my project was the background design and net style for my packaging. My original idea, for example, was to create a textured-looking background that would be featured on the packaging to communicate the type of plaster product. However, after producing mock ups, I saw that the textured-looking background didn't really go with the cartoony style of my illustrations, making the illustrations become less of a feature and less likely to stand out. After carrying out more research into different colours, on kid’s products, I decided to change the background colours to simple pastel shades. I feel like this worked better with the illustrations by complimenting them and making them stand out.

Did I manage my time well throughout the unit?

I think that I managed my time efficiently throughout this unit. I did this by making deadlines for myself of when I needed to get stages of the project done by. This helped me a lot with the essay project running alongside this project too.

How did I respond to feedback?

I feel like I responded to feedback successfully. Feedback from tutorials and my peers helped me to make design decisions that aided in the development of my work. I took the feedback that I got about my work and applied changes where necessary.

Are there areas of my design process that need more practice?

After looking back at my project, I feel like there are areas of my design process that need more practice. I think that my crafting skills need a bit more attention. I think this because I struggled when making my final packaging, due to the fiddly parts of the packaging not sticking down.

I also feel like I need more practice using After Effects. I really enjoyed creating my animation for my adshel, however, I feel like I could have done more with the animation if I was a bit more confident with using the program. I think that with more practice, my confidence would improve and I would be able to create more detailed, interesting animations.

What have I learnt from this unit of study?

I have learnt a lot of skills from this project including:

- How to set up an after effects document to create an animation. -How to animate an animation and apply effects to it. -Time management skills. -How to create nets in Illustrator. -How to present a design professionally.

On reflection, are there any improvements that I would make to my final outcome?

-There are several improvements that I would make to my final outcome. I think that for my adshel poster, I would perhaps make the tagline a little bit smaller so that it didn't look squished. For my packaging, I would use stronger glue to make sure that it stays stuck together. For my animated adshel, I would change the sound that I added to it and replace it with a more subtle sound effect. This is because I feel like the sound that I added was a bit too much for the simple design of the poster.

I would also carry out some more research into animated adshel posters to gain a greater understanding of how they work, and are presented.

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newyorktheater · 5 years

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As the season heats up, Off-Broadway is showcasing plenty of screen stars — or maybe it’s the other way around. Click on the photographs to learn the show and the theater, then check out details in my guide to the Off-Broadway Spring 2019 Guide ,

Uzo Aduba in Toni Stone Lydia Diamond (Roundabout)

Alan Cumming in Daddy by Jeremy O. Harris (Vineyard and the New Group)

Daveed Diggs in White Noise by Suzan-Lori Parks (Public Theater)

Chris Noth and Isabelle Huppert in The Mother by Florian Zeller (Atlantic)

Debra Jo Rupp in The Cake by Bekah Brunstetter (MTC)

Tom Sturridge and Jake Gyllenhaal in Sea Wall/A Life by Simon Stephen and Nick Payne respectively (The Public)

The Week in New York Theater Reviews

The Neurology of the Soul

If Edward Einhorn has given his play a title that might prove a tad off-putting to anybody but neurologists who read Scientific American, the playwright has fashioned an accessible plot that is more or less a love triangle, which allows him to weave in neurological observations about his trio of central concerns – love, art and marketing.

The Scarlet Pimpernel

There was one thrilling moment in Manhattan Concert Productions’ one night only concert version of Frank Wildhorn and Nan Knighton’s “Scarlet Pimpernel” at Lincoln Center last night. Norm Lewis as the evil French revolutionary Chauvelin draws his sword on Tony Yazbeck, who portrays a man with a double identity, the masked hero of the title, and the English aristocrat Sir Percy Blakeney. Yazbeck, looking for a weapon, grabs the first violinist’s bow. He apologizes, and seeks help next from the conductor of the New York City Chamber Orchestra, who just happens to have a sword handy. Lewis and Yazbeck fight gallantly, Laura Osnes as Sir Percy’s wife Marguerite St. Just gets in on the act — and then suddenly, Yazbeck starts dancing. Yazbeck is one of the best dancers on Broadway, and it’s Heavenly. Then Lewis joins him in a soft-shoe routine.

Otherwise, despite a starry cast with great voices, there is unlikely to be much of a reassessment of this musical that critics called “middlebrow,” “wooden,” “pulpy” and boring when it opened on Broadway in 1997, but whose fans kept it running for more than two years. One thing has changed: It’s easier to see the exaggerated foppishness of Sir Percy and his men (in order to escape suspicion that they are the heroic he-men that do battle against the French) as crossing the line into homophobia.

Books:

Looking for Lorraine

Lorraine Hansberry was just 28 years old when “A Raisin in the Sun” opened on Broadway — 60 years ago next month – and lived only six more years, dying of cancer at the age of 34. Yet her short life was extraordinarily full and varied. She was the privileged daughter of an affluent, politically active Chicago family whose father’s anti-segregation lawsuit was resolved in his favor by the United States Supreme Court. She was a radical activist and anti-colonialist who gave speeches on Harlem street corners… She was an intellectual who studied with the legendary scholar and activist W.E.B. DuBois and debated with novelist Richard Wright; a bohemian who lived in Greenwich Village in an interracial marriage; a closeted but active lesbian who wrote short stories about lesbian life under a pseudonym; a celebrity who formed close friendships with both writer James Baldwin and singer Nina Simone…

Fraver by Design: 5 Decades of Theatre Poster Art

“Just a Homosexual at a Broadway Show”

A passage from Less (Little, Brown), the Pulitzer Prize winning novel by Andrew Sean Greer about a middle-aged gay writer living in San Francisco who takes a trip around the world to avoid attending the wedding of his ex-lover. His first stop is New York: “New York is a city of eight million people, approximately seven million of whom will be furious when they hear you were in town and didn’t meet them for an expensive dinner…It is completely reasonable to call none of them. You could instead sneak off to a terrible, treacly Broadway show that you will never admit you paid two hundred dollars to see. This is what Less does on his first night, eating a hot dog dinner to make up for the extravagance. You cannot call it a guilty pleasure when the lights go down and the curtain goes up, when the adolescent heart begins to beat along with the orchestra, not when you feel no guilt. And he feels none; he feels only the shiver of delight when there is nobody around to judge you. It is a bad musical, but, like a bad lay, a bad musical can still do its job perfectly well. By the end, Arthur Less is in tears, sobbing in his seat, and he thinks he has been sobbing quietly until the lights come up You could instead sneak off to a terrible, treacly Broadway show that you will never admit you paid two hundred dollars to see. This is what Less does on his first night, eating a hot dog dinner to make up for the extravagance. You cannot call it a guilty pleasure when the lights go down and the curtain goes up, when the adolescent heart begins to beat along with the orchestra, not when you feel no guilt. And he feels none; he feels only the shiver of delight when there is nobody around to judge you. It is a bad musical, but, like a bad lay, a bad musical can still do its job perfectly well. By the end, Arthur Less is in tears, sobbing in his seat, and he thinks he has been sobbing quietly until the lights come up and the woman seated beside him turns and says, “Honey, I don’t know what happened in your life, but I am so so sorry,” and gives him a lilac-scented embrace. Nothing happened to me, he wants to say to her. Nothing happened to me. I’m just a homosexual at a Broadway show.“

The Week in New York Theater News

Tony Calendar April 25: Official cut-off for 2018–2019 Tony Eligibility. … April 30: 2019 Tony Award nominations revealed. … May 1: Meet the Nominees Press Reception. … May 21: Tony Nominees’ Luncheon. … June 3: The Tony Honors Reception. … June 9: The 73rd Annual Tony Awards, taking place at Radio City Music

.@DontStoponBway, the Michael Jackson musical, has canceled its pre-Bway run in Chicago (due to complications involving the now-settled @ActorsEquity strike) and will now have its world premiere on Broadway in the summer of 2020. pic.twitter.com/DwcV1OhoAK

— New York Theater (@NewYorkTheater) February 15, 2019

@arsnova kicks off its @GreenwichHouse residency w/ #MrsMurraysMenagerie, created by @the_madones (Miles for Mary) March 26-April 27 A focus group probes the parents of the target audience for a 1970s children’s TV show.

Cast replacements

Frozen: Ryann Redmond as Olaf, Joe Carroll as Hans, and Noah J. Ricketts as Kristoff j

Brian d’Arcy James and Holley Fain lead the new (American) cast of The Ferryman

Aladdin: Ainsley Melham becomes Aladdin and Mike Longo Kassim

Odd Calamities in The Theater

Panic at Hamilton in San Francisco

Manhole explosion on 50th Street Manholes exploding on 50th Street forced the evacuation of New World Stages, and canceled performances of “Jersey Boys” and “Avenue Q.” ”Puffs” “A Spirited History of Drinking,” and most appropriately, The Play That Goes Wrong.

Heard FIVE manhole explosions on W 50th St. The first one was right outside Avenue Q theatre. #HellsKitchen #NYC pic.twitter.com/oPa8O51v43

— Renee Xiaoyu Wang (@reneexiaoyuwang) February 17, 2019

How Extra Arts Education at School Boosts Students’ Writing Scores — And Their Compassion

How art creates community by Teresa Eyring

Comedy and Theater

Laughing Matters by Matthew McMahan in HowlRound One can look at almost any comedy, from the irreverence of The Book of Mormon, to the agitprop of the Latino collective Culture Clash, to the philosophic whimsy of playwright Sarah Ruhl, and find a whole host of information about the way a culture thinks and feels and acts….Laughter, then, tells us who we are even when we don’t want it to, and the American theatre would be remiss to ignore it.

Why Comedy Is Eating Theatre’s Lunch by Jason Zinoman in American Theatre A message to the theatre: Comedy is, if not your enemy, then at least a very formidable rival. TV was long seen as the enemy of theatre. A common criticism you would often hear of a play is that it was too much like a sitcom. But TV was always fundamentally different than theatre. Comedy, on the other hand, shares a lot. It is a live art form, and the same romantic defenses you often hear of theatre you can also hear from comics—the beauty of its ephemerality, the present-tense nature of the form in a time when everyone is on screens. People who once went into the theatre are now going into comedy.

“I’m Not A Comedian…I’m Lenny Bruce” will begin an eight-week engagement at The Box (189 Chrystie Street) March 8th.

Yes, who ARE you? Answer: The art work is by Shantell Martin, part of the New York City Ballet art series.

Screen stars on Off Broadway Stages. Tony Calendar. Comedy and Theater: Why you laughing? Just A Homosexual at a Broadway Show. #Stageworthy News of the Week. As the season heats up, Off-Broadway is showcasing plenty of screen stars -- or maybe it's the other way around.

#Scarlet Pimpernel MCP

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luxebeat · 6 years

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Sofitel New York showcases iconic art of Broadway in Fraver Art Gallery

In celebration of the Tony Awards, Sofitel New York today unveiled a transformation of its lobby into the Fraver Art Gallery. Through June 30, theatergoers and art lovers alike can view works by theater poster legend Frank “Fraver” Verlizzo.

NEW YORK, NY – MAY 02: General view of Broadway Posters as part of the Farver Exhibit in the lobby at the SOFITEL New York Hotel on May 2, 2018 in New York…

View On WordPress

#AccorHotels #American Theater Wing #Charlotte St. Martin #Frank Verlizzo #Fraver Art Gallery #Fraver by Design #Heather Hitchens #Sofitel Hotels & Resorts #Sofitel New York #Sunday in the Park with George #The Broadway League #The Lion King #Tony Awards

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broadwayworld · 3 years

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VIDEO: Meet the Man Behind the Show Posters- Frank 'Fraver' Verlizzo Visits Backstage LIVE with Richard Ridge- Watch Now! https://www.broadwayworld.com/article/VIDEO-Meet-the-Man-Behind-the-Show-Posters--Frank-Fraver-Verlizzo-Visits-Backstage-LIVE-with-Richard-Ridge--Watch-Now-20210523

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hannahlstanley · 4 years

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Unit 2-Visual Thinking. Pick, Pack and Sell.

Adshel poster research-

Frank Verlizzo. I have looked at the designer, Frank Verlizzo and his work, as part of my research on advertising posters and to gain inspiration for the design of my adshel poster. Frank Verlizzo is an American designer who is well-known for designing the posters of popular Broadway shows. I like Frank Verlizzo’s style and am inspired by the Lion King poster that he deigned. I am inspired my the used of bright colours, black lines and simplicity. I think that his art style is very eye-catching due to the element of abstractness it has in it.

^Lion King. The Broadway Musical poster.- Frank Verlizzo.

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newyorktheater · 5 years

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Some of the theater posters Frank Verlizzo designed hang on the famous flop wall of Joe Allan’s restaurant. Some hold a prominent place in the homes of grateful Broadway stars. But many are images embedded in various parts of our brain via images in newspaper ads, on the side of buses, t-shirts, album covers, and up and down the Great White Way. Many of those posters appeared in an exhibition at the New York Library or the Performing Arts at Lincoln Center, and are now in his coffee table book, “Fraver by Design: Five Decades of Theatre Poster Art from Broadway, Off-Broadway, and Beyond” Fraver has been his pen name since his student days at New York’s High School of Art and Design (combining the first three letters of his first and last names) Click on any of the photographs of his posters below to read the captions explaining some aspect of the process of putting them together. “Fraver By Design” contains these observations and anecdotes in six chapters — Broadway, Sondheim, Rodgers and Hammerstein, Off-Broadway, Beyond, and Unpublished — as well as those of 22 people with whom he’s worked over the past half century – producers, playwrights and stars like Judy Kaye and Bernadette Peters. The art of theater poster design is inextricably linked to its commercial appeal: “I must distill a two-and-a-half hour stage production into an image that is memorable and eye-catching, but most of all serves as an effective selling tool.” This distillation is a tricky business, as press agent Susan L. Schulman observes in the book: “It can’t give away too much but just enough to intrigue.” When a show is not doing well at the box office, we learn, the producers sometimes hope that a redesign of the poster will cause an upswing. The posters vary between graphic design and illustration, but they do seem to share Fraver’s general approach. “In my years of advertising,” Fraver himself says, “if I’ve learned nothing else, it is that simple is better.”

Fraver, 1978: “I grabbed a small office mirror, propped it up on my desk and drew a sinister-looking graphic version of my eyes” — at the last minute coloring them blue.

Inspired by the cave painting of Simba in the animated film and by the Broadway show’s costume and scenic design sketches, Fraver drew more than 50 versions of Simba’s head, until Disney animator Hans Bacher distilled the image into “the woodcut-like icon still used in advertising the show.”

For this, his favorite musical, Fraver was directed to make it feel like a travel poster. “Throughout the King and I poster history, I always felt that the lead character of the schoolteacher was shortchanged. The focus is always on His Majesty. Here I bring Mrs. Ann front and center along with a gilded symbol of Siam.”

For this poster of this 2004 play, Fraver was inspired by the movie poster designer Saul Bass, who designed the famous posters for Psycho, Vertigo, North by Northwest, Anatomy of a Murder and West Side Story

The advertising agency entertained almost 100 concepts for the poster for this Sondheim musical before settling on Fraver’s, based on an old woodcut. Sondheim’s final suggestion: “Add more blood.”

For this play about a hospital patient, the producers wanted something hopeful and upbeat, not depressing. “In my design I chose to focus on the white tiles one finds in most hospitals. These blocks were then pieced together to form the portrait” — first of star Tom Conti and, then, of his replacement a year later, Mary Tyler Moore.

Carrie lyricist Dean Pitchford sees this Fraver poster for the 2012 Off-Broadway production as capturing the duality of the show — the mysterious figure with tense shoulders and claw-like hands, the long shadow she cast, the flames; but on the other side, the vibrant colors, the title looking like the graffiti on a high school gym locker — and the “giddy mirror ball” on top.

Barrow Street Theater’s founding producer Scott Morfee: In Fraver’s artwork for Our Town, “It’s the “O” as the moon that moves the needle; it is subtle, peaceful and notes Wilder’s fascination with the sun, the moon and the stars –all major elements in his masterful play.”

Theater Posters as Art and Commerce: Fraver By Design Some of the theater posters Frank Verlizzo designed hang on the famous flop wall of Joe Allan’s restaurant.

#advertising #theater posters

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