As a result of studio brief 1, it was possible to learn new skills that would assist in the interpretation of a brief as well as the design process. After researching several designers and their theories of colour, a booklet could be made in response, as a way to interpret the ideas and present them in a way that was reflective of the theories. For example, as there was research into Yves Klein and the colour International Klein Blue, the booklet would respond to the theories of the colour by using it throughout the pages. This would then prove to the viewer the way in which the colour can be used in a graphic design context.
Studio brief 1 also provided the opportunity to receive and respond to feedback from peers at several stages in the process. As a result, the designs were then further improved and more fitting to the context in which they were placed. Peer critique also provided the opportunity to view other peoples approach to the brief, which allow new ideas to come about. These ideas could then be experimented with and used for later projects, similar to this.
As the brief was about colour, this provided knowledge into the ways in which colour is interpreted depending on it's setting. For example, as Josef Albers explains, choosing contrasting colours works better than combining shades of one colour. This was then evidenced during the process of the colour swatch, as it allowed certain colours to be identified from an area within an image. It was also used during the final stages of the booklet, when the background colour was changed throughout, so that the white text would contrast the surrounding.
As a result of studio brief 1, further knowledge has been gained into the ways in which colour can be applied to design, and the techniques that allow us to identify certain colours as having shared meanings. These meanings are also universally recognised, making it possible to communicate to an audience the intentions of the colours used in the designs.
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