Tuesday, 13 December 2011

Paint swatches

 These images show that the swatches don't have to be the standard size that I imagine them to be, long and thin, but I would prefer this so that it is obvious to the audience what they are supposed to be.
 I really like this image below I want to experiment and see what I can do with the idea of the colour swatch.
Ways of fastening- For my swatch recipe booklets I am going to have to faten them somehow. These seem to be fastened in different ways. I prefer the firt one which seems like some kind of pin. I was thinking of using a split pin but would prefer if it wasn't gold. 

Saturday, 10 December 2011



 I like this having the images inside the images, it is done a lot but this works well because the images are of people.
 I like this because of the different opacity of the type, I think this will work well in our magazine to represent the magic concept.

 I really like these duotone images I want to use a style like this in our magazine, I think it will keep it consistent and will make the magazine recognisable.

Friday, 9 December 2011

Creative layout

 We want to use creative layouts for our publiation to represent magic. We don't want to use just standard two or three coloumn on every page. I like the image above with the tyee vertical rather than horizontal it just c

Supermarket signage

I'd like to propose some kind of sample station for in the supermarket where people can try the new flavours. The design couldbe on a stand like this.

 Aisle signage could be appropriate I couldapply my posters to aisles where the sauces and salad cream to emphasise that the campaign is in existent.

Tuesday, 29 November 2011

Paint tins

 I like this packaging with simple type and limited colours, I think that a paint tin doesn't need anything on it to inform someone that it is a tin of paint it is obvious to anyone what it is which is why I hope it will work for my design.

I like these labels which only take up a small amount of the actual product, I don't want the label to fill the whole product.
I don't want my packaging to be like this where the label is the full design of the tin, I want some of the tin to be shown as well as a label.

Monday, 28 November 2011


Harry Houdini - Illusionist

Siegfried & Roy - Magicians/Illusionists

David Copperfield - Magician/Illusionist

Steven Diamond - Illusionist

David Blaine - Magician

Categories of effect

There is discussion among magicians as to how a given effect is to be categorized, and disagreement as to what categories actually exist—for instance, some magicians consider "penetrations" to be a separate category, while others consider penetrations a form of restoration or teleportation. Some magicians today, such as Guy Hollingworth[4] and Tom Stone[5] have begun to challenge the notion that all magic effects fit into a limited number of categories. Among magicians who believe in a limited number of categories (such as Dariel Fitzkee, Harlan Tarbell, S.H. Sharpe), there has been disagreement as to how many different types of effects there are. Some of these are listed below.
  • Production: The magician produces something from nothing—a rabbit from an empty hat, a fan of cards from thin air, a shower of coins from an empty bucket, a dove from a pan, or the magician him or herself, appearing in a puff of smoke on an empty stage—all of these effects are productions.
  • Vanish: The magician makes something disappear—a coin, a cage of doves, milk from a newspaper, an assistant from a cabinet, or even the Statue of Liberty. A vanish, being the reverse of a production, may use a similar technique, in reverse.
  • Transformation: The magician transforms something from one state into another—a silk handkerchief changes colour, a lady turns into a tiger, an indifferent card changes to the spectator's chosen card. A transformation can be seen as a combination of a vanish and a production.
  • Restoration: The magician destroys an object, then restores it back to its original state—a rope is cut, a newspaper is torn, a woman is sawn in half, a borrowed watch is smashed to pieces—then they are all restored to their original state.
  • Teleportation: The magician causes something to move from one place to another—a borrowed ring is found inside a ball of wool, a canary inside a light bulb, an assistant from a cabinet to the back of the theatre. When two objects exchange places, it is called a transposition: a simultaneous, double teleportation.
  • Escape: The magician (an assistant may participate, but the magician himself is by far the most common) is placed in a restraining device (i.e. handcuffs or a straitjacket) or a death trap, and escapes to safety. Examples include being put in a straitjacket and into an overflowing tank of water, and being tied up and placed in a car being sent through a car crusher.
  • Levitation: The magician defies gravity, either by making something float in the air, or with the aid of another object (suspension)—a silver ball floats around a cloth, an assistant floats in mid-air, another is suspended from a broom, a scarf dances in a sealed bottle, the magician hovers a few inches off the floor. There are many popular ways to create this illusion, including Asrah levitation, Balducci levitation, Looy's Sooperman, and King levitation. Much more spectacular is the apparent free flight flying illusion that is often performed by David Copperfield and more recently by Peter Marvey (who may or may not be using a technique similar to that of David Copperfield). Harry Blackstone's floating light bulb, in which the light bulb floats over the heads of the public, is also spectacular.
  • Penetration: The magician makes a solid object pass through another—a set of steel rings link and unlink, a candle penetrates an arm, swords pass through an assistant in a basket, a saltshaker penetrates the table-top, a man walks through a mirror. Sometimes referred to as "solid-through-solid".
  • Prediction: The magician predicts the choice of a spectator, or the outcome of an event under seemingly impossible circumstances—a newspaper headline is predicted, the total amount of loose change in the spectator's pocket, a picture drawn on a slate.
Many magical routines use combinations of effects. For example, in "cups and balls" a magician may use vanishes, productions, penetrations, teleportation and transformations as part of the one presentation.


Sunday, 27 November 2011

Existing publication work

Some examples of the kind of work I want out publication to be like well not be like but be on the same level as.


Hunt Studio

 Hey Studio