LWL – AO2 Vector VS Bitmap

1. What is a bitmapped image?

An image composed of many tiny pixels, in which each individual pixel can be edited.

An image or graphic taken from the internet.

An image that can be scaled up or down with no loss of quality.

2. What is a vector image?

An image composed of individual pixels.

An image or graphic taken from the internet.

An image composed of individual objects.

3. What is an advantage of a bitmapped image?

Images can be scaled up or down with no loss of quality.

Individual pixels can be changed, which makes very detailed editing possible.

They have a small file size.

4. What is an advantage of a vector image?

Individual pixels can be changed which makes very detailed editing possible.

Images can be scaled up or down with no loss of quality.

They look real.

5. What is a disadvantage of a bitmapped image?

They don’t look as realistic as vector graphics.

They are not as colourful.

They have a large file size because information has to be stored about every pixel.

6. What is a disadvantage of a vector image?

They don’t look as realistic as bitmap graphics.

They cannot be resized.

They have a large file size because information has to be stored about every pixel.

7. Identify the common file formats for bitmapped images:

.html, .htm

.svg, .eps, .xml

.bmp, .jpg, .gif

8. Identify the common file formats for vector images:

.html, .htm

.svg, .eps, .xml

.bmp, .jpg, .gif

9. Which one of these would you use to create vector graphics?

Photoshop

Audacity

Illustrator

Updated Completed Tasks

Updated Completed Tasks

Unit 08 –

– Colour Wheel Theory

AO5 Colour Wheel Theory

– LWL Cover Comparison

AO6 LWL Cover Comparison

AO6 Is the Cover Fit for Purpose?

1) Be recognisable – those familiar with the brand should be able to spot it easily.

The cover fits the conventions of a little white lies cover: the close up, straight on portrait and the distinct LWL Masthead in the correct place and built into the design. It also fits the trend that a lot of the covers have, of the character looking out and making eye contact with the reader. Also the way it’s different from the typical film magazine cover can mark it out as Little White Lies, the style the trend on LWL covers is to be unique.

2) It should be emotionally irresistible by the appeal of the main image – does your image generate an emotional response?

The cover is striking, and represents the character as a hero and maybe even something a bit mythic. It’s quite epic and dramatic but also has a softer, more mystic and sentimental look with the clouds and stars.

3) Magnetic and curiosity arousing – to pull the reader in.

The cover is mysterious and enigmatic, first in the basic concept of showing a mystic cloudy night, and second in the fact that the Hunger Games subject isn’t immediately obvious. The stylized version of the main character is the first pull, seeing this portrait draws the reader in at first glance. But the ‘Hunger Games’ isn’t immediately obvious at first glance; the cover makes the reader hunt the cover for the subject movie, which will become more obvious as they see the images in the stars. The cover is made so that there is enough of the Hunger Games to draw the audience in, but not so much so they can glance and easily indentify then dismiss it.

4) Intellectually stimulating – promising benefits.

Little White Lies promises a unique and artistic viewpoint, something quite highbrow, which is shown by its tagline; “Truth and Movies” It also promises and artistic and well crafted magazine. My cover continues this, as it’s a unique interpretation of the ‘Catching Fire’ film. It doesn’t use obvious ideas like fire imagery, but goes down a quite weird and interesting design path. The design also looks artist, and well crafted.

5) Efficient and easy to scan – introducing your service and making it clear.

The cover will be recognizable to those familiar with the ‘Hunger Games’ brand. The likeness of the main character is strong and clear, and she’s always very heavily associated with the franchise. The inclusion of the MockingJay symbol is also a clear marking, and the colour scheme of cold blue and warm orange will evoke the films and books in fans minds. Although I do think there’s an idea of a hunt to find the film, it’s a very easy hunt and only serves to draw the reader in.

The font is bold and clear, stark white on the cover and easy to read on a glance. I’m not sure about the placement of the font, and if it’s in the best place for a reader to pick it up on a quick scan. Better placement might have been for it to go near the top on the left, making it easy for the reader to pick up as they track across the cover right to left.

6) Logical – makes sense as an investment.

Little White Lies is very niche. What’s its target audience are looking for and what to invest in is not really information and news and coverage. What they want is something different with a unique viewpoint, and something with artistry and design and some sophistication. My cover shows that they’ll get this in the magazine, with a different take on the movie and a very designed cover.

 

AO6 The Cover Design Process

AO6 Final Cover Evaluation Strengths and Weaknesses

AO6 LWL Cover Comparison

Now with my completed cover I can compare it with an actual LWL cover, here the ‘Attack the Block’ issue.

– In what ways does your cover fit the conventions and requirements of the brief?

My cover sticks to the main requirements of the Little White Lies brand, a straight on portrait of the face of one of the characters from the cover film, usually the main character. In mine it’s Katniss from Catching Fire, and on the actual cover, the main character from Attack The Block’

The cover is stylised in an eye catching and artistic way, with a style that connects with the film. However most covers also try to be unique, and do something a bit different from the obvious. The ‘Attack The Block’ cover takes a scratchy, lino Print style, which draws from the films grungy urban look, and accentuates the darkness and shadows of the movie, as the print defines the image through shadows. A more obvious route might have been to do the cover as graffiti or something along those lines.

My cover also draws it’s style from the subject film, connecting with the Roman inspirations in ‘The Hunger Games’ and it’s ties to mythology. Like other LWL covers I tried to avoid the obvious like a propaganda poster style.

On a more basic layout level my cover also sticks to brief, the LWL brand logo is in the correct place, and the title of the cover movie is clearly displayed within the design.

– What aspects of your design would you identify as of professional standard?

The design looks clean and professional in it’s layout and clours. Nothing looks like it’s clashing or out of place: everything works together into the design. The likeness of the cover character is also strong, which is one of the key elements of creating a professional LWL cover. If you look at any of the covers they will have a very strong, if not perfect likeness. The ‘Attack The Block’ cover has a perfect rendering of the films main character, even with half his face obscured in shadow.

– In what ways does your cover differ from the required expectations of a LWL cover?

My cover is perhaps more digital then the normal LWL cover. Although they adopt a different style from cover to cover, most of the covers feature a very handcrafted look, painted, or printed, or sketched. My final cover has a very smooth digital “Painted-in-Photoshop” look, which breaks from the expectations a bit.

Whilst the ‘Attack The Block’ cover may very well be digital, it has he look of a lino print, which is a print created by cutting into lino and scratching out shapes. As it’s that style, it has that slightly messy and jagged look.

If this were an actual cover with the same design and ideas it would probably be hand painted and then scanned in.

 

AO5 Health and Safety

AO5 Final Cover – Two Colour Ways

 

AO5 Production Schedule Update 2

AO5 Colour Wheel Theory

 

Full colour wheel

The colour wheel works by spacing three primary colours (Yellow, Blue, and Red) around the wheel, each and equal distance apart.

Primary Colours

Next you have the secondary colours, Green, Orange, and Purple.

Secondary Colours

Between the primary and the secondary colours are the Tertiary colours, colours that are created by mixing a primary and secondary. On the wheel they are made up of the two colours either side of it.

Tertiary Colours

The theory of the colour wheel is that you can use it to find colours that work together. For example the Primarys would work together in a colour scheme, as would the secondarys. This is called a Triad, were you pick three colours evenly spaced across the wheel.

Triad

The wheel can also be used to find complimentary colours, which will be opposite each other.

Complimentary Colours

I’m thinking about going with a blue and orange colour scheme for the final design. This follows the idea of using complimentary colours, colours that are opposite each other on the colour wheel are opposites, and so can go together.

In my draft design I used only blue, with it washing over everything. However for this final design I want to develop the idea a bit with the addition of orange, that I hope will make the cover even more eye catching.

Not only does orange compliment the blue, it also subtly ties in the idea of fire, providing another link to the film. It also connects to the film in that I saw a very similar colour scheme in the trailer, with a mix of teal blue and orange/red in the design of the film.

The idea of implementing the orange will be to use it as the light and the blue as the dark, with the moon as the light source. Everything the moons casts in it’s light will be a warm orange, and going away from the moon; the blue. This fits with how I’ve been rendering the clouds; denser and more detailed towards the light.

I did a quick test on my draft design to see how this all might look. Whilst the finished cover will be more subtle and integrated, from this I can see that I really like the colour scheme in practice.

Another direction could be a Purple and yellow scheme. Again, this uses complimentary colours. These work with the mythic concept of the cover, and also bring in a royal element, that ties into the royal and roman design aspects of the film.