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Dette er en mappe som viser arbeid gjort på første semester multimediedesign, hovedsaklig grafisk design.
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Gry Monica Hellevik - Multimediedesign
32
Obligatorisk oppgave 01
Obligatorisk oppgave 01 Fotoarkiv skulle gi oss kunnskap om metoder for kreativt arbeid, designlære og fotografi. Den skulle skape bevissthet gjennom det å ”se gjennom linsen” og benytte prinsipper for å ta gode bilder i praksis (harmoni, bal-anse/ubalanse, form osv). Vi skulle skape en base med bilder som kan brukes gjennom hele studieåret.
Det skulle tas minimum 100 bilder, 10 i hver kategori. Katego-riene var: Mennesker, Symboler, Bylandskap, Mote/trend, Form, Mat, Stemning, Kontraster og Transport. Bildene kunne bare beskjæres og ikke manipuleres digitalt på noen måte. Tre av bildene skulle leveres inn til veileder for evaluering.
1
3
2
1. Mote/trend - For men who loves their skin2. Form - Jettegryte3. Transport - Fart og spenning = dødsgøy!
Fotografert med et Canon EOS 500D.
4 5
Obligatorisk oppgave 02
Obligatorisk oppgave 02 Logo skulle gi oss kunnskap om research, skissearbeid og definisjon av målgrupper. Og kunnskap om kommunikasjonsprosesser og utforming av bud-skap. Samt praktiske ferdigheter og kunnskap innen verktøy benyttet i den grafiske bransjen. Bruk av typografi og farger i forskjellige trykksakproduksjoner.
En logo skal gjenspeile et varemerkes eller bedrifts visuelle identitet. Vi skulle designe en logo som var enkel og lett gjen-kjennelig. Tidløs, helst ikke flere enn 2-3 farger. Bør inneholde et symbol/figur/ornament, samt en tittel (navn/merke). Vi kunne velge mellom å designe en ny frokostblanding, en ny kaffe eller en ny sjokolade. Den skulle ferdigstilles i Illustrator i RGB, CMYK og gråtoner.
Øverst: Taboo logo i farger og gråskala. Nederst: Logoen plassert inn på forsiden av sjokoladepapiret. Farger og gråskala. Logoene er utformet i Adobe Illustrator.
76
Obligatorisk oppgave 03
Obligatorisk oppgave 03 Illustrasjon skulle gi oss kunnskap om kommunikasjonsprosesser og utforming av budskap. Kunnskap innen komposisjon og utforming av grafisk arbeid, og gi oss praktiske ferdigheter innen verktøy benyttet i den grafiske bransjen; bildebehandling, vektorgrafikk og fotografi.
I oppgaven skulle vi ta utgangspunkt i en selvvalgt tekst (sang, dikt, novelle eller lignende) og lage en illustrasjon til denne. Illustrasjonen skulle enten plasseres på et CD-cover, et bokomslag eller på en plakat.
Oppgavens mål var å benytte teknikker innen digital bildebe-handling til å få frem et originalt og nytt uttrykk.
CD-cover illustrasjon til sangen La Vigüela av Gotan Project.
Utformet i Adobe Illustrator og Adobe Photoshop.
La Vigüela
Here I begin to singin time with viguelaof a man who revealsan extraordinary sorrowlike a solitary birdconsoles himself with a song.
The holy saints are comingthey all come to help mewhen my tongue is tiedand my vision is troubledI beg my God to assist meand this time he helps.
Here I begin to singin time with viguelaof a man who revealsan extraordinary sorrowlike a solitary birdconsoles himself with a song.
Gotan Project, La Basta Records.
98
Obligatorisk oppgave 04
Obligatorisk oppgave 04 Layout skulle gi oss praktiske ferdi-gheter i verktøy benyttet i den grafiske bransjen; bildebehan-dling, sideombrekking, illustrasjon (vektorgrafikk) og fotografi. Bruk av typografi og farger i forskjellige trykksakproduksjoner. Bevisstgjøre oss om visuelle virkemidler og kommunikasjon gjennom trykte medier. Og gi oss kunnskap om tekniske stand-arder og produksjonsprosesser innen grafisk arbeid.
“Blunk” er et fiktivt magasin som inneholder artikler om den kreative bransjen i Norge; kunstnere, designere, illustratører, filmskapere, fotografer osv.
Oppgaven var å utarbeide logo, farger, bilder (illustrasjon/foto), samt å lage et reellt porttrettintervju med en utøvende kunstner. Deretter å lage layout av denne artikkelen.
Sept
-Oct
2010
Karin
a A
stru
pPr
od
uce
r of
6FT
Hic
k N
ote
s fro
m th
e U
nde
rgro
und
1110
Bei
ng p
art o
f thi
s doc
umen
tary
was
th
eir t
icke
t bac
k to
Eur
ope
that
yea
r.
They
are
nor
mal
ly v
ery
priv
ate
guys
and
bec
ause
they
are
from
the
unde
rgro
und
sub-
cultu
re, t
here
is a
re
al m
ytho
logy
abo
ut w
ho th
ey a
re.
Ther
e is
a lo
t of p
erfo
rman
ce a
spec
ts
and
som
etim
es th
ey lo
ok li
ke th
ey
are
kille
rs o
r jus
t gen
eral
ly re
ally
hor
-rib
le m
en. I
t’s m
ostly
show
thou
gh,
part
of th
e ov
eral
l exp
erie
nce.
The
y w
ere
pret
ty c
once
rned
at fi
rst l
ettin
g a
docu
men
tary
cre
w c
ome
in to
reve
al
them
and
had
nig
htm
ares
abo
ut u
s try
ing
to m
ake
it in
to a
Met
allic
a st
yle
‘som
e ki
nd o
f mon
ster
’ doc
umen
tary
.
-We
had
to k
eep
a ce
rtain
leve
l of
resp
ect,
but t
hey
unde
rsto
od th
at th
ey
had
to g
ive
us a
cces
s as w
ell.
It w
as
scar
y fo
r the
m si
nce
anyt
hing
can
ha
ppen
in th
e ed
iting
room
. Peo
ple
can
take
smal
l pie
ces o
f con
vers
atio
n ou
t of c
onte
xt a
nd p
aint
a p
ictu
re th
at
isn’
t tru
e. It
was
ver
y ha
rd fo
r the
m
to to
tally
trus
t us.
I had
bee
n fr
iend
s w
ith tw
o of
the
band
mem
bers
for
near
ly te
n ye
ars,
whi
ch w
as th
e ot
her
reas
on w
hy th
ey a
gree
d to
it. I
f I d
id
not h
ave
a pe
rson
al re
latio
nshi
p, I
do
not t
hink
they
wou
ld h
ave
agre
ed to
it.
-I re
ally
love
goi
ng to
thes
e he
avy
dirty
rock
gig
s by
mys
elf.
I lov
e th
e en
ergy
they
giv
e ou
t. It’
s jus
t so
stro
ng a
nd so
pas
sion
ate,
it sm
acks
yo
u in
the
face
, it m
akes
you
r pul
se
run
fast
, and
it m
akes
you
ene
rgiz
ed.
-I o
ften
go a
way
from
thes
e ki
nd o
f gi
gs fe
elin
g pu
mpe
d ab
out l
ife, a
nd
pum
ped
with
a fe
elin
g lik
e “Y
eah
I’ve
real
ly g
ot to
get
out
ther
e an
d do
it, j
ust g
onna
pus
h m
y en
ergy
out
, ye
aah!
” I l
ike
the
fun,
and
I lik
e th
at
it’s n
ot se
rious
, tha
t’s it
s pus
hing
the
boun
darie
s and
that
you
are
step
ping
ou
tsid
e of
bor
ing
mai
nstre
am la
nd.
Karin
a A
stru
p N
ame:
Kar
ina A
stru
p (f
orm
erly
Av
erlo
n-Th
omas
)
Age
: 31
Prof
essio
n: P
rodu
cer
Likes
to w
atch
: Tru
e B
lood
, D
eadw
ood,
Rom
e, B
ritis
h C
omed
y su
ch a
s Lea
gue
of G
entle
men
and
Sp
aced
, goo
d ca
rtoon
s and
gen
er-
ally
any
thin
g ar
t hou
se.
Likes
to re
ad: B
iogr
aphi
es a
nd
auto
biog
raph
ies.
I lik
e st
orie
s abo
ut
real
peo
ple,
whi
ch is
pro
babl
y w
hy
I lik
e do
cum
enta
ries.
Liste
ns to
: I lo
ve u
nder
grou
nd
blue
s and
cou
ntry
infl u
ence
d ro
ck n
ro
ll an
d st
uff y
ou o
ften
hear
aro
und
the
Bris
bane
and
Mel
bour
ne sc
enes
, al
so P
.J.H
arve
y, P
each
es, B
jörk
, Ye
ah Y
eah
Yeah
s, W
hite
Stri
pes j
ust
to n
ame
just
a fe
w.
Likes
to e
at: H
ealth
y w
hole
-so
me
hom
emad
e fo
od, w
ith lo
ts o
f ve
geta
bles
.
Hobb
ies:
Fin
e ar
t, ph
otog
raph
y,
trave
l, ta
ngo
danc
ing.
Favo
urite
col
our:
I can
’t ch
oose
. Im
poss
ible
, the
y ar
e al
l gre
at fo
r di
ffere
nt m
oods
.
Favo
urite
fi lm
: Im
poss
ible
to
choo
se, b
ut I
do lo
ve th
e w
orks
of
Jane
Cam
pion
.
Favo
urite
arti
st: F
rida
Kah
lo
insp
ired
me
grea
tly a
t Art
Scho
ol.
Che
ck o
ut K
arin
a’s m
edia
co
mpa
ny: w
ww.
hous
eofg
ary.
com
And
: http
://6f
thic
knot
esfr
omth
eun
derg
roun
d.co
m/
Dic
tiona
ryD
inku
m, f
air d
inku
m :
true,
real
, ge
nuin
e (“
I’m
a d
inku
m A
ussi
e”;
“is h
e fa
ir di
nkum
?”)
1 fo
ot =
0,3
048
met
er
6 FT
: ca.
1, 8
3 m
eter
Hick
: hill
billy
, red
neck
The
fi lm
is a
bout
an
Indi
an m
an, a
Si
kh. H
e is
an
imm
igra
nt a
nd a
taxi
dr
iver
. He
love
s liv
ing
in A
ustra
lia
so m
uch
that
he
wro
te a
song
abo
ut it
ca
lled
“Son
g A
ustra
lia”,
and
he
wou
ld
alw
ays s
ing
to th
e pa
ssen
gers
in h
is
taxi
.
He
reco
rded
a C
D, a
n al
bum
full
of
his o
wn
mus
ic a
nd p
eopl
e w
ould
sit
in h
is ta
xi a
nd th
ey w
ould
go
“Oh,
w
hat’s
this
song
?” a
nd h
e w
ould
go
“Ah,
but
that
’s m
e, th
at’s
me
sing
-in
g!” A
nd h
e w
ould
pul
l out
this
lam
i-na
ted
song
wor
ds a
nd p
ass i
t on
to
them
in th
e ba
ck se
at, a
nd h
e ac
tual
ly
sold
3,0
00 a
lbum
s to
diffe
rent
peo
ple
in h
is ta
xi!”
(She
is la
ughi
ng a
lot).
Tell m
e ab
out y
our l
ates
t pr
ojec
t; 6t
h Hi
ck –
Not
es fr
om
the
Und
ergr
ound
.
- 6FT
Hic
k: N
otes
from
the
Und
er-
grou
nd is
my
fi rst
eve
r ind
epen
dent
fi l
m p
rodu
ced
by m
y ow
n co
mpa
ny
Hou
se o
f Gar
y. It
was
my
conc
ept a
nd
my
cont
acts
. I a
m th
e pr
oduc
er, s
o I
carr
ied
this
bab
y fr
om st
art t
o en
d.
-The
re is
onl
y on
e fu
ndin
g gr
ant a
nd
broa
dcas
t dea
l in
Aus
tralia
offe
red
to p
eopl
e at
the
star
t of t
heir
care
er,
whe
re y
ou c
an g
et y
our fi
lm b
road
cast
w
ith li
mite
d ex
perie
nce
behi
nd y
ou.
It is
a n
atio
nwid
e co
mpe
titio
n to
get
yo
ur c
once
pt a
ccep
ted,
so it
is a
ver
y to
ugh
pitc
h pr
oces
s.
I tea
med
up
with
em
ergi
ng d
irec-
tor M
arty
Moy
niha
n w
ho w
as a
t a
sim
ilar c
aree
r sta
ge to
me.
We
put
the
prop
osal
toge
ther
, and
we
won
! It
was
am
azin
g, it
is so
har
d to
get
in!
My
hand
s wer
e sh
akin
g w
hen
I got
th
e fi n
al n
ews “
Oh,
my
God
! I c
an’t
belie
ve w
e m
ade
it!”
It’s j
ust s
uch
a ha
rd p
roce
ss.
-I re
ceiv
ed a
bud
get o
f 1 m
illio
n kr
o-ne
r and
for t
hat I
had
to p
rodu
ce a
one
ho
ur d
ocum
enta
ry fo
r AB
C T
V. O
ur
budg
et p
aid
for a
ll th
e ba
nd m
embe
rs
plan
e tic
kets
, or e
lse
they
cou
ld n
ot
affo
rd to
go.
The
Lea
d si
nger
had
be
en d
oing
his
mas
ters
in a
ddic
tion
stud
ies,
so th
ey h
ad n
ot b
een
doin
g as
m
any
paid
gig
s as u
sual
that
yea
r.
“I o
ften
go a
way
fro
m th
ese
kind
s of
gigs
feel
ing
real
ly
pum
ped
abo
ut lif
e”
3
Not
es fr
om d
own
und
er
Karin
a A
stru
p ha
s ju
st p
ro-
duc
ed h
er fi
rst
ind
epen
-d
ent
doc
umen
tary
fi l
m.
In t
he fi
lm s
he f
ollo
ws
an
und
ergr
ound
roc
k ba
nd,
“6FT
HIC
K”,
on t
our
6000
km
s ac
ross
Eu
rope
an
d
Aus
tralia
.
Karin
a is
born
in
Ha
mil-
ton,
N
ew
Zeal
and
, bu
t ha
s liv
ed t
he la
st 1
1 ye
ars
in B
risba
ne,
Aus
tralia
. Re
-ce
ntly
sh
e m
arrie
d
and
m
oved
to
Be
kkas
tua
in
Nor
way
.
How
did
it y
ou g
et in
to m
akin
g d
ocum
enta
ry fi
lms?
- Afte
r wor
king
in a
dver
tisin
g fo
r fou
r ye
ars
I rea
lly w
ante
d to
leav
e it.
I ha
d di
scov
ered
tha
t w
hat
I en
joye
d m
ost
was
pro
duct
ion.
I en
joye
d w
orki
ng o
n co
rpor
ate
vide
os a
nd t
elev
isio
n co
m-
mer
cial
s, m
ore
than
web
site
s, pr
ints
or
anim
atio
n.
-I th
ough
t abo
ut m
aybe
goi
ng in
to fe
a-tu
re fi
lms
and
star
ted
aski
ng p
eopl
e ab
out i
t, lo
oked
into
the
indu
stry
and
fo
und
out t
hat I
was
n’t r
eally
inte
rest
-ed
. All
they
wer
e m
akin
g lo
cally
wer
e bi
g bl
ockb
uste
r Am
eric
an fi
lms
that
I
ofte
n di
dn’t
real
ly li
ke v
ery
muc
h, a
nd
the
hour
s ar
e sh
itty.
Peo
ple
are
wor
k-in
g be
twee
n te
n an
d fi f
teen
hou
rs a
day
an
d yo
u ha
ve to
com
plet
ely
sacr
ifi ce
your
self
to th
e fi l
m. I
thou
ght I
don
’t w
ant t
o sa
crifi
ce m
ysel
f to
a fi l
m th
at
I don
’t ev
en li
ke th
at m
uch
at th
e en
d of
the
day.
-Wha
t I e
njoy
ed th
e m
ost a
bout
co
rpor
ate
vide
o an
d te
levi
sion
was
w
orki
ng w
ith re
al p
eopl
e, n
ot c
eleb
ri-tie
s. I
am n
ot re
ally
ver
y in
tere
sted
in
cele
brity
cul
ture
. But
I lo
ve e
very
day
peop
le st
orie
s, th
ey a
re so
inte
rest
ing.
I l
ove
step
ping
into
oth
er p
eopl
e’s
wor
lds a
nd li
ves.
So I
disc
over
ed th
at
docu
men
tary
was
a n
atur
al th
ing
to
go fo
r.
-My
fi rst
real
doc
umen
tary
exp
erie
nce
was
wor
king
with
Far
amar
z K
-Rah
-be
r, a
high
ly a
ccla
imed
and
aw
arde
d do
cum
enta
ry fi
lmm
aker
. Thi
s was
the
Faird
inku
m M
anjit
Doc
umen
tary
.2
1312
Jeg intervjuet Karina Astrup som nylig har laget sin første egne dokumentarfilm om en underground rockegruppe som hun følger på turne i Europa og Australia.
Filmen heter “6FT Hick - Notes from the Underground” og skal vises på filmfestivaler i Brisbane, Australia og Os, i Norge i november 2010. I Os er filmen nominert til beste dokumentar.
Oppgaven er løst ved å fotografere med et Canon EOS 500D, redigere bildene i Adobe Photoshop Lightroom, bilde-behandling i Adobe Photoshop, logodesign i Adobe Illustrator og layout i Adobe Indesign.
Sept-Oct 2010
Karina AstrupProducer of
6FT Hick Notes from the Underground
Notes from down under
Karina Astrup has just pro-duced her fi rst indepen-dent documentary fi lm. In the fi lm she follows an underground rock band, “6FT HICK”, on tour 6000 kms across Europe and Australia.
Karina is born in Hamil-ton, New Zealand, but has lived the last 11 years in Brisbane, Australia. Re-cently she married and moved to Bekkastua in Norway.
How did it you get into making documentary fi lms?
- After working in advertising for four years I really wanted to leave it. I had discovered that what I enjoyed most was production. I enjoyed working on corporate videos and television com-mercials, more than websites, prints or animation.
-I thought about maybe going into fea-ture fi lms and started asking people about it, looked into the industry and found out that I wasn’t really interest-ed. All they were making locally were big blockbuster American fi lms that I often didn’t really like very much, and the hours are shitty. People are work-ing between ten and fi fteen hours a day and you have to completely sacrifi ce
yourself to the fi lm. I thought I don’t want to sacrifi ce myself to a fi lm that I don’t even like that much at the end of the day.
-What I enjoyed the most about corporate video and television was working with real people, not celebri-ties. I am not really very interested in celebrity culture. But I love everyday people stories, they are so interesting. I love stepping into other people’s worlds and lives. So I discovered that documentary was a natural thing to go for.
-My fi rst real documentary experience was working with Faramarz K-Rah-ber, a highly acclaimed and awarded documentary fi lmmaker. This was the Fairdinkum Manjit Documentary.
2
Being part of this documentary was their ticket back to Europe that year.
They are normally very private guys and because they are from the underground sub-culture, there is a real mythology about who they are. There is a lot of performance aspects and sometimes they look like they are killers or just generally really hor-rible men. It’s mostly show though, part of the overall experience. They were pretty concerned at fi rst letting a documentary crew come in to reveal them and had nightmares about us trying to make it into a Metallica style ‘some kind of monster’ documentary.
-We had to keep a certain level of respect, but they understood that they had to give us access as well. It was scary for them since anything can happen in the editing room. People can take small pieces of conversation out of context and paint a picture that isn’t true. It was very hard for them to totally trust us. I had been friends with two of the band members for nearly ten years, which was the other reason why they agreed to it. If I did not have a personal relationship, I do not think they would have agreed to it.
-I really love going to these heavy dirty rock gigs by myself. I love the energy they give out. It’s just so strong and so passionate, it smacks you in the face, it makes your pulse run fast, and it makes you energized.
-I often go away from these kind of gigs feeling pumped about life, and pumped with a feeling like “Yeah I’ve really got to get out there and do it, just gonna push my energy out, yeaah!” I like the fun, and I like that it’s not serious, that’s its pushing the boundaries and that you are stepping outside of boring mainstream land.
Karina Astrup Name: Karina Astrup (formerly Averlon-Thomas)
Age: 31
Profession: Producer
Likes to watch: True Blood, Deadwood, Rome, British Comedy such as League of Gentlemen and Spaced, good cartoons and gener-ally anything art house.
Likes to read: Biographies and autobiographies. I like stories about real people, which is probably why I like documentaries.
Listens to: I love underground blues and country infl uenced rock n roll and stuff you often hear around the Brisbane and Melbourne scenes, also P.J.Harvey, Peaches, Björk, Yeah Yeah Yeahs, White Stripes just to name just a few.
Likes to eat: Healthy whole-some homemade food, with lots of vegetables.
Hobbies: Fine art, photography, travel, tango dancing.
Favourite colour: I can’t choose. Impossible, they are all great for different moods.
Favourite fi lm: Impossible to choose, but I do love the works of Jane Campion.
Favourite artist: Frida Kahlo inspired me greatly at Art School.
Check out Karina’s media company: www.houseofgary.com
And: http://6fthicknotesfromtheunderground.com/
DictionaryDinkum, fair dinkum : true, real, genuine (“I’m a dinkum Aussie”; “is he fair dinkum?”)
1 foot = 0,3048 meter
6 FT: ca. 1, 83 meter
Hick: hillbilly, redneck
The fi lm is about an Indian man, a Sikh. He is an immigrant and a taxi driver. He loves living in Australia so much that he wrote a song about it called “Song Australia”, and he would always sing to the passengers in his taxi.
He recorded a CD, an album full of his own music and people would sit in his taxi and they would go “Oh, what’s this song?” and he would go “Ah, but that’s me, that’s me sing-ing!” And he would pull out this lami-nated song words and pass it on to them in the back seat, and he actually sold 3,000 albums to different people in his taxi!” (She is laughing a lot).
Tell me about your latest project; 6th Hick – Notes from the Underground.
- 6FT Hick: Notes from the Under-ground is my fi rst ever independent fi lm produced by my own company House of Gary. It was my concept and my contacts. I am the producer, so I carried this baby from start to end.
-There is only one funding grant and broadcast deal in Australia offered to people at the start of their career, where you can get your fi lm broadcast with limited experience behind you. It is a nationwide competition to get your concept accepted, so it is a very tough pitch process.
I teamed up with emerging direc-tor Marty Moynihan who was at a similar career stage to me. We put the proposal together, and we won! It was amazing, it is so hard to get in! My hands were shaking when I got the fi nal news “Oh, my God! I can’t believe we made it!” It’s just such a hard process.
-I received a budget of 1 million kro-ner and for that I had to produce a one hour documentary for ABC TV. Our budget paid for all the band members plane tickets, or else they could not afford to go. The Lead singer had been doing his masters in addiction studies, so they had not been doing as many paid gigs as usual that year.
“I often go away from these kinds of gigs feeling really pumped about life”
3
people that depended too much ontheir parents or brothers and sisters, and they couldn’t look after them-selves. I thought “I have to be able to look after myself”. I can’t let my fam-ily have to support me to be an artist, I have to stand on my own two feet. So that is what made me interested in the whole multimedia thing, and made me go down the path of advertising.
I was very fortunate that I got this amazing job at Bigfi sh advertising, which gave me all the skills that I could possibly need on the job, and fortunate enough to begin my fi lm career working with such great fi lm-makers as Faramarz K-Rahber and Axel Grigor.
In this fi eld, the only way to grow is to keep attaching yourself to more se-nior mentors, and so you keep trying work with people who know more
A selecion of photos from the 6th hick tour.
“In this fi eld, the only way to grow is to keep attach-ing yourself to more senior mentors, and people who know more than you, and learn as much as you can while you working for them.”
What is the best thing about having a creative profession?
-That I am never bored. I am al-ways feeling like I have purpose for myself. I have some friends that don’t have creative professions, sometimes they just get bored. I never get bored. I never think “Oh what should I do with my time today?” I always wake up feeling fi lled with purpose and reason and things to do, I feel excited. I think that what’s amazing is; you dream something up in your head and make it a reality. Whether you make it with your hands, or you take pic-ture, or you sell a concept to investors so you can build it in real life. The action of making a dream true, it feels so good!
-The sucky thing is that you are always short of money. That’s the down side of it. Being in art school sucks as much as it is massively fun. You spend so much money on fi lm and paint and canvas, you are always short of money for food, rent. It’s re-ally hard to survive fi nancially.
What kind of education do you have?
-I did one year at university of a bachelor of fi ne art and photography. I did not fi nish that because I was just so poor that I couldn’t stand it. Plus I decided that I couldn’t see how I could sustain myself, I saw lots of
than you, and learn as much as you can while you’re working for them.
You just moved to Norway. Will you be able to stay here and work or will you go back to Australia and New Zealand for working?
-It’s really exciting to be in Europe. I really want to break into the fi lm industry over here. I am hoping to become a link between Europe and Australia, and help creative business fl ow between the two worlds. That’s a goal.
I am also in the process of developing 2-3 projects with Australian teams, so in the next couple of years I see my-self go between the two worlds quite regularly. Maybe if a major thing gets commissioned, I might go back for 6 to 12 months, but at the end of the day I want to be mostly based in Norway, and stay here for a few years.
”6FT Hick – Notes from the Underground” will be shown at fi lm festivals in Os, Norway and Brisbane, Australia in No-vember this year.
4 – 14. november 2010, Bris-bane, Australia: www.stgeorgebiff.com.au
6 – 13. november 2010, Os, Norge: www.wt-festivalen.no
The fi lm poster and the vocalist on stage in a
similar pose.
Text and photo: Gry Monica Hellevik • Photos on page 4: Iain Clatcher, Betty Lee and Karina Astrup4
peop
le th
at d
epen
ded
too
muc
h on
thei
r par
ents
or b
roth
ers a
nd si
ster
s, an
d th
ey c
ould
n’t l
ook
afte
r the
m-
selv
es. I
thou
ght “
I hav
e to
be
able
to
look
afte
r mys
elf”
. I c
an’t
let m
y fa
m-
ily h
ave
to su
ppor
t me
to b
e an
arti
st,
I hav
e to
stan
d on
my
own
two
feet
. So
that
is w
hat m
ade
me
inte
rest
ed in
th
e w
hole
mul
timed
ia th
ing,
and
mad
e m
e go
dow
n th
e pa
th o
f adv
ertis
ing.
I was
ver
y fo
rtuna
te th
at I
got t
his
amaz
ing
job
at B
igfi s
h ad
verti
sing
, w
hich
gav
e m
e al
l the
skill
s tha
t I
coul
d po
ssib
ly n
eed
on th
e jo
b, a
nd
fortu
nate
eno
ugh
to b
egin
my
fi lm
ca
reer
wor
king
with
such
gre
at fi
lm-
mak
ers a
s Far
amar
z K
-Rah
ber a
nd
Axe
l Grig
or.
In th
is fi
eld,
the
only
way
to g
row
is
to k
eep
atta
chin
g yo
urse
lf to
mor
e se
-ni
or m
ento
rs, a
nd so
you
kee
p try
ing
wor
k w
ith p
eopl
e w
ho k
now
mor
e
A se
leci
on o
f pho
tos f
rom
th
e 6t
h hi
ck to
ur.
“In
this
fi eld
, the
on
ly w
ay to
gro
w
is to
kee
p at
tach
-in
g yo
urse
lf to
mor
e se
nior
men
tors
, and
pe
ople
who
kno
w
mor
e th
an y
ou, a
nd
lear
n as
muc
h as
yo
u ca
n w
hile
you
w
orki
ng fo
r the
m.”
Wha
t is t
he b
est t
hing
abo
ut
havi
ng a
cre
ativ
e pr
ofes
sion?
-Tha
t I a
m n
ever
bor
ed. I
am
al-
way
s fee
ling
like
I hav
e pu
rpos
e fo
r m
ysel
f. I h
ave
som
e fr
iend
s tha
t don
’t ha
ve c
reat
ive
prof
essi
ons,
som
etim
es
they
just
get
bor
ed. I
nev
er g
et b
ored
. I n
ever
thin
k “O
h w
hat s
houl
d I d
o w
ith m
y tim
e to
day?
” I a
lway
s wak
e up
feel
ing
fi lle
d w
ith p
urpo
se a
nd
reas
on a
nd th
ings
to d
o, I
feel
exc
ited.
I t
hink
that
wha
t’s a
maz
ing
is; y
ou
drea
m so
met
hing
up
in y
our h
ead
and
mak
e it
a re
ality
. Whe
ther
you
mak
e it
with
you
r han
ds, o
r you
take
pic
-tu
re, o
r you
sell
a co
ncep
t to
inve
stor
s so
you
can
bui
ld it
in re
al li
fe. T
he
actio
n of
mak
ing
a dr
eam
true
, it f
eels
so
goo
d!
-The
suck
y th
ing
is th
at y
ou a
re
alw
ays s
hort
of m
oney
. Tha
t’s th
e do
wn
side
of i
t. B
eing
in a
rt sc
hool
su
cks a
s muc
h as
it is
mas
sive
ly fu
n.
You
spen
d so
muc
h m
oney
on
fi lm
an
d pa
int a
nd c
anva
s, yo
u ar
e al
way
s sh
ort o
f mon
ey fo
r foo
d, re
nt. I
t’s re
-al
ly h
ard
to su
rviv
e fi n
anci
ally
.
Wha
t kin
d o
f ed
ucat
ion
do
you
have
?
-I d
id o
ne y
ear a
t uni
vers
ity o
f a
bach
elor
of fi
ne
art a
nd p
hoto
grap
hy.
I did
not
fi ni
sh th
at b
ecau
se I
was
just
so
poo
r tha
t I c
ould
n’t s
tand
it. P
lus
I dec
ided
that
I co
uldn
’t se
e ho
w I
coul
d su
stai
n m
ysel
f, I s
aw lo
ts o
f
than
you
, and
lear
n as
muc
h as
you
ca
n w
hile
you
’re
wor
king
for t
hem
.
You
just
mov
ed to
Nor
way
. Will
you
be a
ble
to st
ay h
ere
and
w
ork
or w
ill yo
u go
bac
k to
A
ustra
lia a
nd N
ew Z
eala
nd fo
r w
orki
ng?
-It’s
real
ly e
xciti
ng to
be
in E
urop
e.
I rea
lly w
ant t
o br
eak
into
the
fi lm
in
dust
ry o
ver h
ere.
I am
hop
ing
to
beco
me
a lin
k be
twee
n Eu
rope
and
A
ustra
lia, a
nd h
elp
crea
tive
busi
ness
fl o
w b
etw
een
the
two
wor
lds.
That
’s
a go
al.
I am
als
o in
the
proc
ess o
f dev
elop
ing
2-3
proj
ects
with
Aus
tralia
n te
ams,
so
in th
e ne
xt c
oupl
e of
yea
rs I
see
my-
self
go b
etw
een
the
two
wor
lds q
uite
re
gula
rly. M
aybe
if a
maj
or th
ing
gets
co
mm
issi
oned
, I m
ight
go
back
for 6
to
12
mon
ths,
but a
t the
end
of t
he d
ay
I wan
t to
be m
ostly
bas
ed in
Nor
way
, an
d st
ay h
ere
for a
few
yea
rs.
”6FT
Hic
k –
Not
es fr
om th
e Un
der
grou
nd”
will
be sh
own
at fi
lm fe
stiv
als i
n O
s, N
orw
ay
and
Bris
bane
, Aus
tralia
in N
o-ve
mbe
r thi
s yea
r.
4 –
14. n
ovem
ber 2
010,
Bris
-ba
ne, A
ustra
lia:
ww
w.st
geor
gebi
ff.co
m.a
u
6 –
13. n
ovem
ber 2
010,
Os,
Nor
ge: w
ww
.wt-f
estiv
alen
.no
The
fi lm
pos
ter a
nd
the
voca
list o
n sta
ge in
a
simila
r po
se.
Text
and
pho
to: G
ry M
onic
a H
elle
vik
• Pho
tos o
n pa
ge 4
: Iai
n Cl
atch
er, B
etty
Lee
and
Kar
ina
Astru
p4
1514
Obligatorisk oppgave 05
Obligatorisk oppgave 05 Miniprosjekt Visuell identitet skulle gi oss kunnskap om å lage en visuell identitet, kunnskap om kom-munikasjonsprosesser og utforming av budskap.
Det var et gruppearbeid hvor vi skulle lage et DVD-cover og en plakat, samt en profilmanual for en tenkt filmatisering/animasjonsproduksjon av en valgfri tekst. Vi skulle lage både logo, illustrasjoner og layout, samt en profilmanual som beskriv-er bruken av disse elementene i den visuelle profilen.
Jeg samabeidet med to andre studenter på dette prosjektet, via e-post, blogg og Skype. Vi valgte å illustrere en engelsk versjon av H.C.Andersens “Prinsessen på erten”, kalt “The Real Princess”. Vi ønsket en ny vri, og valgte å lage en litt an-nerledes prinsesse, samt ungdom som målgruppe istedet for barn.
mINIPROSJEKT
Sara HelenaVOLD
Gry MonicaHELLEVIK
SandraLESCHBRANDT
VEGETABLE FILMS presents a SSG STUDIOS’s film “The Real Princess” Text idea SANDRA LESCHBRANDT Logo SARA HELENA VOLD Illustration SANDRA LESCHBRANDT
Profilmanual GRY MONICA HELLEVIK Rapport SARA HELENA VOLD Layout ALL
Could YOUhave passed thepea test?
Watchthe MOVIEand see for yourself!
This DVD can only be sold to private persons by an ap-proved dealer. The DVD is only intended for private use. All other use, copying fully or partly and public display is strictly prohibited.
She did not look like aprincess, but she passed the test...
Things are not always how they look... SandraLESCHBRANDT
Sara HelenaVOLD
Gry MonicaHELLEVIK
A V e g e t a b l e F i l m s p r o d u c t i o n
You cannot judge a book by its cover, they say.
In the same way you cannot see who is a princess from the outside appear-ance. A person who you would never imagine being a princess, could be exactly that!
This film is about a girl who did not look like a typical princess, but in spite all odds she passed the test and married the prince.
Maybe you also are a hidden princess, or maybe there is a princess just next to you? Take the pea test and you will know!
THE REAL PRINCESS
by: Hans Christian Anderson (1805-1875)The following story is reprinted from Stories from Hans Anderson. Hans Christian Anderson. London: Hodder & Stoughton, 1911.
There was once a prince, and he wanted a princess, but then she must be a real Princess. He travelled right round the world to find one, but there was always something wrong. There were plenty of princesses, but whether they were real princesses he had great difficulty in discovering; there was always something which was not quite right about them. So at last he had to come home again, and he was very sad because he wanted a real princess so badly.
One evening there was a terrible storm; it thundered and lightened and the rain poured down in torrents; indeed it was a fearful night.
In the middle of the storm somebody knocked at the town gate, and the old King himself went to open it.
It was a princess who stood outside, but she was in a terrible state from the rain and the storm. The water streamed out of her hair and her clothes; it ran in at the top of her shoes and out at the heel, but she said that she was a real princess.
‘Well we shall soon see if that is true,’ thought the old Queen, but she said nothing. She went into the bedroom, took all the bedclothes off and laid a pea on the bedstead: then she took twenty mattresses and piled them on the top of the pea, and then twenty feather beds on the top of the mattresses. This was where the princess was to sleep that night. In the morning they asked her how she had slept.
‘Oh terribly badly!’ said the princess. ‘I have hardly closed my eyes the whole night! Heaven knows what was in the bed. I seemed to be lying upon some hard thing, and my whole body is black and blue this morning. It is terrible!’
They saw at once that she must be a real princess when she had felt the pea through twenty mattresses and twenty feather beds. Nobody but a real prin-cess could have such a delicate skin.
So the prince took her to be his wife, for now he was sure that he had found a real princess, and the pea was put into the Museum, where it may still be seen if no one has stolen it.
På venstre side: DVD-cover utside og innside, samt filmplakat til “The Real Princess”.
Sidene 16-19: Profilmanualen til “The Real Prin-cess”.
Prosjektet er utført i Adobe Illustrator, Adobe Photoshop og Adobe InDesign.
1716
PROFILMANUAL
2
Om profilmanualen
Denne profilmanualen er laget i forbindelse med Vegetable Films og SSG Studio’s lansering av en
helt ny filmatisering av H.C. Andersens eventyr ”Prinsessen på erten”. Dette er en engelsk filmati-
sering med tittelen ”The Real Princess”.
Målgruppe og ønsket etterlatt inntrykk
Normalt er ofte H.C. Andersens historier myntet på barn. Denne filmen har en helt annen mål-
gruppe, nemlig ungdom. I stedet for en søt og vakker prinsesse, har vi en tøff og opprørsk
prinsesse med boots og piercinger. Filmen ønsker å fortelle at selv om man ikke ser ut som en
prinsesse, så kan man allikevel være en. Det er ikke smart å dømme etter det ytre utseendet, alle
og hvem som helst kan være en prinsesse.
Logo
Logoen finnes i to versjoner. Hovedversjonen på to linjer og en sekundær versjon på én linje.
Hovedlogoen skal alltid foretrekkes dersom det er teknisk mulig, og alltid i store formater.
Hovedlogoen kan brukes ned til størrelse 20 mm bred. Hovedlogoen brukes på grønn bakgrunn
som vist nedenfor. Den sekundære logoen skal brukes på mindre produksjoner og der hvor det
er nødvendig å ha logoen plassert på én enkelt linje. Den sekundære logoen kan plasseres på hvit
bakgrunn. Logoen skal ikke plasseres direkte på fotografier
Hovedlogo plassert på grønn bakgrunn
Sekundærlogo plassert på grønn bakgrunn
Sekundærlogo plassert på hvit bakgrunn
3
Typografi for trykk
Det er viktig at det brukes samme skrifttype overalt og på samme måte, for å opprettholde det
visuelle inntrykket man ønsker å skape. Hovedskrifttypen for The Real Princess er Lucida. Lucida
Bright, Lucida Demibold og Lucida Demibold Italic.
ABCDEFGHIJKLMNOPQRSTUVWXYZÆØÅ
abcdefghijklmnopqrstuvwxyzæøåLucida Bright Regular
ABCDEFGHIJKLMNOPQRSTUVWXYZÆØÅ
abcdefghijklmnopqrstuvwxyzæøåLucida Bright Demibold
ABCDEFGHIJKLMNOPQRSTUVWXYZÆØÅ
abcdefghijklmnopqrstuvwxyzæøåLucida Demibold Italic
Retningslinjer for bruk av typografi
Skrifttypene må brukes på riktig måte i profileringen av The Real Princess. Her er noen ret-
ningslinjer for bruk av skriftene i trykksaker. Skriftstørrelsen i punkter skal tilpasses størrelsen
på dokumentet/trykksaken.
DVD-cover:
Skrift på baksidetekst og tekst inne i coveret:
Lucida Bright Regular, 9 punkt, svart.
Eksempel:
Skrift i navn øverst på forsiden, samt nederst på forsiden ”Vegetables Films”:
Lucida Bright Demibold, 12 punkt, svart, bokstavmellomrom 50, bokstavhøyde 200%
Eksempel:
You cannot judge a book by its cover, they say.
A Vegetable Films production
4
Skrift brukt i ”she did not look…” på forside og Things are not…” på bakside:
Lucida Bright Italic, 14 punkt, hvit.
Eksempel:
Filmplakat
Skrift i navn øverst på forsiden:
Lucida Bright Demibold, 70 punkt, svart, bokstavmellomrom 140 punkt, bokstavhøyde 200%,
bokstavbredde 80%.
Eksempel:
Skrift nederst på forsiden ”Vegetables Films”:
Lucida Bright Demibold, 43 punkt, svart, bokstavmellomrom 84 punkt, bokstavhøyde 200%, bok-
stavbredde 80%.
Eksempel:
Things are not always how they look...
Sara HelenaA Vegetable Films
Skrift brukt i ”Could you pass...” og “Watch the…” på bakside:
Lucida Bright Italic, 100 punkt, hvit. Med unntak av ordene “YOU” og “MOVIE”, som er satt i 120
punkt.
Eksempel:
Watch
1918 5
Typografi for skjerm
Typografi på skjerm er forskjellig fra typografi for trykk. Dette skyldes behovet for å kunne
overføre elektroniske dokumenter uten skriftypeproblemer, og for å sikre at alle brukere av for
eksempel websidene har installert den samme skriften på sin maskin, og dermed ser det samme
visuelle uttykket som vi ønsker.
På websider og på Powerpoint er det viktig med skrifter som er gode for øyet og svært lesbare på
skjerm. All bruk av tekst på skjerm skal være i Verdana Regular/Bold.
ABCDEFGHIJKLMNOPQRSTUVWXYZÆØÅabcdefghijklmnopqrstuvwxyzæøåVerdana Regular
ABCDEFGHIJKLMNOPQRSTUVWXYZÆØÅabcdefghijklmnopqrstuvwxyzæøåVerdana Bold
Farger
Filmen skal promoteres med materiale med ertegrønn bakgrunnsfarge, med unntak av mulige
svart-hvitt produkter. Dette er bakgrunn på DVD-cover og filmplakat, og skal brukes på alt annet
materiale i farger. Tekstfarger er svart for brødtekst og overskrifter, hvitt for uthevede sitater.
Farge C M Y K hex R G B
Grønn 53 % 15 % 85 % 1 % 8EAC46 142 172 70
Svart 0% 0% 0% 100% 000000 0 0 0
Hvit 0% 0% 0% 0% FFFFFF 255 255 255
Den normale skriftfargen er svart, men på grønn bakgrønn kan også hvit brukes. Tekst i Lucida
Demibold Italic skal som regel være i hvitt på grønn bakgrunn. Dersom den brukes på hvit bakg-
runn skal den være i grønn, slik som på overskriftene i dette dokumentet.
6
Bilder og illustrasjoner
Det skal kun brukes de vedlagte illustrasjonene. Hovedillustrasjonen skal alltid være med. Den
sekundære illustrasjonen kan brukes til bakside, mindre element, men alltid som et tillegg til
hovedillustrasjonen. Dersom det kun skal brukes én illustrasjon så skal det alltid være hovedil-
lustrasjonen.
I tillegg finnes et designelement, en krone som kan brukes der det er liten plass og behov for en
svært liten illustrasjon. Denne skal ellers også bevisst brukes i kombinasjon med hovedlogoen,
der disse står alene.
1.
2.
3.
1. Hovedillustrasjon2. Sekundær illustrasjon3. Designelement
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Plassering av logo og illustrajoner
Hovedillustrasjonen skal alltid plasseres i høyre kant og nedre hjørne, den sekundære illus-
trasjonen skal midtstilles der dette er mulig.
Designelementet (krona) kan plasseres etter behov, men der hvor den brukes alene sammen med
logoen skal den dreies 14,5 grader med klokka (til høyre).
Slik Ikke slik
Slik Ikke slik
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Diverse læringsaktiviteter
I mellom alle de obligatoriske oppgavene som vi fikk karakter og evaluering på (som er presentert foran i denne mappen), holdt vi på med en del læringsaktiviteter.
Disse var nødvendig for å trene opp ferdighetene som vi skulle bruke når vi utførte de obligatoriske oppgavene. På de siste sidene av denne mappa presenterer jeg et lite utvalg av disse aktivitetene.
Til venstre: Læringsaktivitet hvor vi jobbet med å se lys og skygge. Tegnet med blyant, grafitt og kullstift.
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Øvelser om farger og identitetsde-sign. Laget i Adobe Illustrator.
Perspektivtegning og kreativt kart over den digitale læring-splattformen Moodle, som vi bruker i studiet. Blyanttegninger.
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Sesongmønster. Vi skulle ta utgangspunkt i egne bilder og bruke dem til å lage uendelige mønsterrapporter i Adobe Photoshop. Mine bilder hadde teamet “sommer”.
Visuelisering av to ord med motsatt mening. Ord: Stor versus liten.
Laget i Adobe Photoshop og Adobe Illustrator
En visualisering av fire designprinsipper: Linje, balanse, kontrast og rytme. Utført i Adobe Illustrator.
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Lenken til min reflektive dagbok, blogg hvor arbeidet mitt i multimediedesignstudiet kan følges, er:http://grymonica.wordpress.com/
For mer informasjon om de enkelte obligatoriske oppgavene, se “Mappeinnlevering grafisk rapporter”.
I tillegg har jeg en del bilder på Flickr: http://www.flickr.com/photos/grymonicahellevik/
Med vennlig hilsen,Gry Monica Hellevik, oktober 2010
