Exhibition Poster - Grid and Layout

When creating the A1 Exhibition Poster, different grids and layout were experimented with , to achieve the most suitable hierarchal grid in order for the poster to be communicated to the general public best. Modular, Hierarchal and column grids were experimented with before reaching a conclusion to use a modular grid, as this allowed for the most versatility and movement within the design, whilst also allowing it to remain structured.

Book Covers - Final Penguin Marber Covers

Exhibition Poster - A1 to A4 Folding Techniques - Format

When folding the A1 poster down to A4, the easiest and most effective folding method was to fold it in half and half again. This allowed all the important information to be displayed on the front, whilst also cutting off the design which led to an intrigue as to what was filling the rest of the poster. A sneak preview almost, whilst still giving the information for people who wanted a quick glance, it till communicated what the exhibition was and what it was about. 

Book Covers - Marber Book Design

Book Covers - Romek Marber Timeline

1925 - Born in Poland

1939 - Deported to Bochina Ghetto 

1942 - Saved from a death camp by Sergeant Kur Zbach

1946 - Arrived in Britain after WW2, working at a London clothing factory.

1947 - Applied for an education grant, "The committee for the education of the Poles in Great Britain"

1950 - Studied at St Martins

1953 - Studied at Royal College of Art

1961 - After seeing Marber's designs for covers of The Economist. Facetti commissioned him to design covers for "Our language and language in the modern world".

1962- 65 - Facetti asked Marber to submit a proposal for a new cover approach for the Penguin Crime series. He was asked to do twenty titles in four months. Marber chose to retain the green colour for the series, he also kept the horizontal banding The image on Marber's covers occupies just over two-thirds of the space, while the title section at the top is divided into three bands carrying colophon, series, name, price, the title and the author's name, with the type ranged left.

1962 - Contacted Spencer to give him credit within an article for the grid design. 

1963 - Layout became standard for the entire range of penguin paperbacks.

1964 - Worked for The Observer as the magazine's first art director.

1966-  Worked as a design consultant for The Observer, Wire Fencing Company and Norvic

1967 - Designed New Society photomontage

1989 - Retired as a designer and became a Professor Emiterus of Middlesex University. 

2010 - Released his autobiography, "No Return: Journeys in the Holocaust".

2013 - The Minories, Colchester exhibited a retrospective of graphic work designed by Marber for Penguin books, The Economist, New Society and others. The exhibition went on to be shown at the University of Brighton and the Galicia Jewish Museum in Krakow.

Book Covers - Romek Marber Grid

Pantone Booklet - Klein Blue

Klein Blue was a hue created by Yves Klein; a frenchman who was not only an artist but an inventor and showman too. The colour was based upon the use of Ultramarine, when experimenting with pigments and polymers, Klein created a colour that when suspended in synthetic resin, produced an extremely high pigment. It was eventually officially registered in 1957. The colour was first displayed at an exhibition named ‘The Blue revolution’, where Klein used naked models as live paintbrushes, encapsulating movement and the human body within an art piece. He also displayed the colours has huge hanging monochromatic paintings, based on his previous idea of ‘The Void’. The vastness of the colour across the painting, was done in a way which removed people out of reality and acted as a source of meditation and relaxation, it took people elsewhere within their minds. Klein’s main aim was to capture a hue of blue that would hold an entire experience when looked at. and each painting created different atmospheres and emotions, as well as each being sold for varying prices. Klein described his colour as ‘a blue in itself, disengaged by all functional justification.’ He wanted both the colour and paintings to have a tangible and visible nature of the sky and sea, to reach out to all five senses. It became known as International Klein Blue (IKB), and during the 1990s it became hugely popular, within design, it was said that ‘it had replaced red as a signal colour’.

Designed by Sagmeister, the contemporary rebrand of The Jewish Museum in New York. The colour was inspired by Tekhelet dye mentioned within the Hebrew Bible, and a reference to the Israeli flag and Jewish culture and religion. 

Design for Generation Press by Studio Build, the colour used has a resemblance to Klein Blue. The contrast against the red is similar to two points work creating a bold statment using two very basic colours.

Found upon Trendlist, this is a poster designed by Jean Ducret. Klein Blue has been used throughout the whole piece. Hinting to Klein’s own monochrome paintings, creating a single piece creating different emotions and feelings.

Designed by Studio Dumbar for OVG Real Estate, Visual Identity. The colours chosen read Europe, taken from the European Flag. But the design also emits passion, which was the drive behind Yves Klein production of IKB.

Architecture Magazine designed by TwoPoints, uses a contrast of Klein blue and red. This issue was about preservation therefore the choice of colours could represent stripping back to basics using primary colours.

This was designed again by Studio Build, for a conference branding for Sex, Drugs and Helvetica. The colour choice relates to Klein’s controversial use of Klein Blue, using women as paintbrushes, it is used again herein a similar context.

Created by Vallée Duhamel Studio, for Google and Android. The shade of blue could be a reference to the colours used within the google logo and to contrast against the shade of pink. Making a gender neutral brand for the product.

Pantone Booklet - Final Pantone Booklet

Pantone Booklet - Pantone Your Street Photographs

Below are a series of photographs that I took in response to the Pantone your street brief. I tried to find interesting colour swatches within the real world, on the side of walls, streets, buildings and the roads. During this process I really immersed myself in the inspiration that is all around us, I found and saw colours that I never would have seen or bothered to look for before.

On this photo the colour of the bins really excited me, as they looked like a Pantone swatch in themselves, as they are all varying shades of the same tone. I knew as soon as I saw this that this was the photo I was going to use, the primary colours of red, yellow and blue contrasted against the colours of nature around really interested me, a mixture of man made and nature.

Here the colour of the rubbish interested me, as within the dull, low saturated colours of the building which seems quite dark and grungy, then the blue of the rubbish bag just adds a completely different colour and it contrasts completely against the other colours.

This is a photo of student accomodation, I loved how all the tertiary colours were placed within this frame. purple, orange and green, however in the end I didn't think their were enough interesting colours to swatch from, as the wall and ground take up most of the picture.