found type

bits and pieces of found type within the constraints of my bedroom.

drew my attention to the amount of type that we become so desensitised too and the appropriateness of the identity each type exudes.

FOUND!
Theme of the day is quantity over quality; a sure sign of the times. TJ

Beijing vs Texas

Original photographs of found type from - left column: Beijing // right column: Houston & Austin

layouts

Type in Packaging

Some interesting/clever use of typography in packaging design:

Photo 1: B.E.E. is a line of environmentally friendly home cleaning products from New Zealand with packaging that focuses on typography as the main design element. The use of just type on packaging has become a strong trend, aiming to convey the essence of the product in an "honest" manner.

Photo 2: Designed by recent Penn State University grad Thomas Wilder "Buggin' Out" bath and body products were designed to make the viewer literally "bug out" when they looked at the typography displayed along the bottle, creating an experience for the consumer.

Photo 3: Elbows bend was designed by the Australian agency The Creative Method. The use of typography in this design anthropomorphizes the product.

These examples were taken from www.thedieline.com, a great resource for those who are interested in packaging design.

page layouts

innovation in page layout ex2

waxpoetics - Issue 40 (Magazine)

The Skateboarder's Journal Issue #10 (Magazine) & Detail

Photofile Issue 79 Summer 2007 (Magazine)

Lobo - Portrait of a Bastich (Graphic Novel)

Masters of Photography by Ruel Golden 2008 (Book)

found type ex3

Typography PDFs

Not sure about the legalities of the google group hosting these but here's some PDFs I hadon typography and grid systems, mostly printable versions. Includes the Mark Boulton references from week 7 lecture and some web typography resources.

Download it from Files on the google group:

http://groups.google.com.au/group/sdes-2198-2010/files?hl=en-GB

found typography

Type examples I found around COFA and the CBD:

found type

(images taken by me)

SR2

SR 2

A poster by the womens clothes retailer Wallies that appeared as part of its advertising campaign 'Dress to Kill' from the late 1900s. There are many signifier (the form) and signified (the concept) elements in this image. It is clear that this campaign ad using conceptual approach in order to delivering its content to the audience. From this campaign, I just realized that conceptual approach already applied for most of ads from ages ago. And I this this is one of the best strategy in order to delivering the content to the audience because it makes the audiences need to think a little bit and the message will be easier to stuck on their mind.

This 'Flora by GUCCI' perfume is one of example of ad campaign which contains an expressive approach. I think it is very successful on emphasized the feel of flora itself without putting a real flower on the picture, but she used a dress with floral motive decorates instead. The audience can feel the message from its color, texture, and expression face. I think this ad campaign not only expressive, but impressive at the same time.

Image 1 is an approach to design concerned with documentation. This city rail ticket is almost ‘un-designed’ pure information. The typography is larger for the more important information such as where the ticket is valid to and from as well as the expiry date. The extra, less important, information is than visually smaller so as to inform but not distract from the key details.

Image 2 was part of a ‘quit smoking’ campaign used in the UK. This type of approach to design is different to image 1 in that I would consider to be an ‘expressive’ approach in which it plays on the viewers emotions and almost makes them cringe at the thought of a fishing hook through their skin. The visual hierarchy used is through scale, the viewers eye is first drawn to the large scaled disturbing image of a fish hook going through a person’s lip which then causes the viewer to look at the text to know what this advertisement is for.

SR 2

­­

In today’s graphic design, there are four main design structure approaches that Baines & Haslam identify to create eye catching and appealing print and screen designs. Such approaches include analytical and conceptual design structures.

Above is a page spread designed by Stacy Anthony for the magazine ESPN. Here, the design consists of tables and symbols to document the statistics and results of past games. The way in which the page spread is designed has a simplistic approach where information is not cluttered and easily read. This is through the use of block colours to separate sections of the page such as the light blue box to make the “Big Five” section stand out. Next to it, the “tracking the world series” has its own separate column with light pink boxes on every second line, which allows the reader to follow the results easily without getting mixed up with the line above it, and at the same time the “Big Five” section next to it. The use of columns and different colours is used effectively to separate all information especially when there are tables of results on the page. It creates the visual hierarchy that allows the reader to instantly focus on the “Big Five” because of it’s large text size and it’s background colour that separates the section from the rest of the page. On the other side of spread, although there is a large amount of text, it is separated from the result table by the page break. The table of results is also just as effective in design through it’s simple use of columns, colour and the large black blocks to create strong headings which draws the readers eyes instantly to the headings.

The page design above is a more conceptual approach, which is illustrated through the typeface of the heading ‘Inflatable Pets’. It uses the idea of having balloon text to correspond with the content of the article, creating a stronger concept. The use of bold colours also brings out the fun and child like aspects that is related to inflatable pets. In terms of visual hireachy, having the title take up the entire width of the page instantly makes the reader’s eyes draw straight to the title and then follow down to the article. There is a good sense of balance between the positive and negative space and the photo at the left hand corner further balances out the page layout.

Jocelyn Nguyen z3254773

Innovative page layouts

Belinda O'Brien 3253712

Photographs of found type

(All photographs are my own except the last two rows which I found via blogs, etc.)

Belinda O'Brien 3253712

omg

click here for further information.

wing's reading list 6

grid systems in graphic design

josef muller-brockmann

wing's reading list 5

graphic design manual: principles and practice

armin hofmann

SR2: Belinda O'Brien, 3253712

Example 1: Goggle Boxes, David McCandless. informationisbeautiful.net


Example 2: Andrew Bird Concert Poster, Garrett Karol. gigposters.com

Example one is an information diagram that uses stark juxtaposition in content and scale to illustrate an ironic point. Here, McCandless has taken two totally unrelated statistics to produce confronting, and even humorous analytic visual communication, where its success lies in the clever use of visual hierarchy, complemented by hue selection. The diagram illustrates the ironic fact that the time spent on such a complex activity (creating the online encyclopedia, Wikipedia) pails in comparison to that of the mindless ritual of television- watching in the US. The contradiction of these facts is immediately exemplified by the extremes of visual hierarchy used within the diagram.

On the other hand, example two uses a more conceptual approach and reverses the role of visual hierarchy. In this design, in contrast to the previous, the physically largest visuals are in fact the least important to the function of the design, and vice versa. Here, the viewer is immediately drawn to the centrally illustrated, bright- coloured and overly large paint bucket. Karol then uses the visual metaphor of paint dripping downwards to affect the gaze of the viewer. The paint hits the lion down below and continues to drip, and our eyes are finally lead to the similarly bright, but exceptionally smaller, artist's name. Our learned convention of reading from left to right then directs us to the even smaller, and perhaps most important communicator in the design: the time and place where the concert will be held. Without even noticing, the viewer is taken on a journey, where visual hierarchy has been very successfully used in an unorthodox way.

The advertising above represent the conceptual on broad approach to design. the ads was to express and tell the audience about environment pollution from vehicle users. The straw simply represent the words from pollution and the main information that the information trying to express, which about how we also contributed to the problem and side effect of pollution. However, the advertising speak for itself very simple but yet still effective to achieve the goal of its campaign.



The second advertising is represent the expressive approach. The advertising is concern as scary and disturbing ads but yet it is very effective and successful from telling its message to say away from particular drug which in this case is "ice". The person at the ads simply the expression of people using drugs and what it can do to person life. I guest the result from this advertising is emotional and "reposition" feeling from the audiences.

The ads created by United Colors of Benetton have created heaps of controversy since their creation in the early 2000's. They use a Conceptual Approach and an Expressive approach in order to create the uproar they have thus far. The ads are so successful because the concept is strong therefore illustrating the expressive and emotional part. The concept being rooted in controversial topics uses contradicting images to make strong, blunt messages. Conceptually the message given is often a bit mindblowing for the average viewer, yet true and possible adding to its shock factor. The shock factor of the adds is the expressive approach. Hierarchy in these adds are better illustrated in the second example where the racially segregated hearts stand out before the logo is even seen. The hierarchy is image, text, logo. That in itself makes a statement. The concept is more important than the company name. I think these ads overall demonstrate a strong use of both the expressive and the conceptual approach in design. Even more interestingly they take a unconventional approach with the use of hierarchy.

LeighAnna Webb

JWT, Chile

The first example shown here, an advertisement for scrabble, conforms to the conceptual approach to design. It is minimalistic, yet very effective in communicating its message. Only two elements form the visual hierarchy - the image of the guitar, and the word "scrabble". The image speaks so well for itself that it takes up most of the advertising space. The message becomes clearer by the placement of the word scrabble, centrally in the lower part of the poster. It immediately gives context to the image and creates a pun.

Saatchi&Saatchi Simko, Geneva, Switzerland

This second example conforms to the expressive approach to design. I think it is a gorgeous piece of advertising formed around a very clever concept. It is from a series of poster that depict hands painted to look like different animals. The viewer's eye is immediately drawn to the vivid colours used to create these animals. After studying these hands our eyes are drawn upwards to the WWF logo (the intrusion of the white on the coloured background grabs our attention), which immediately accesses the emotional part of our brain. It is then that our eye is drawn to the message of the posters: "give a hand to wildlife". And subsequently the entire image is reinterpreted with this new understanding. The visual hierarchy is strong and well informed.

hsbc vs. always with honor

The HSBC 'Your Point of View' print advertisements comply with the conceptual approach to design embodied by Haslam. The campaign sets out to envisage an understanding of its customers and the world they live in by recognising their different values. Through paring different word associations with the image, it successfully highlights the variety of impressions given by different frames of reference. The advertisement follows the hierarchal structure where the visual is the foremost the focal element. The use of a universally recognised and accessible font (Helvetica), it does not detract from the image itself and allows for the wordplay to be solely based on word/image association. The second element in the visual hierarchy is the sign-off which punctuates the advertisement and leads up to the text. The text works ranged right due to the briefness of the passage and the lack of discrepancies in where the line begins. With it ranged right it constantly draws eyes back the focal image reiterating the content with the concept.

This infographic is the collaborative effort of the Information Design collective Always With Honor and integrated media platform GOOD, which highlights how diets affect the weight of the population globally. It is a comparison of nutritional consumption vs. body fat percentage which breaks down the complex data transforming it into a design which is accessible and enjoyable. It adopts an analytical approach utilizing visual hierarchy to emphasise the countries with the highest fat percentage and consumption. Through this, the size compliments the percentage making it obvious to the viewer which countries have the largest percentages immediately. Corresponding to each percentage is the nation's average calorie consumption linked to the key which strategically blends into the colour scheme of the background. The explanation of the data is placed top left to allow the viewers gaze to continue to refer to the pictorial data, which dominates majority of the infographic. The colour of the title is shared with that of the countries linking the image with the text through word association. The size of the text is large enough to be the second most salient element, clarifying the purpose and content of the infographic.

Cityrail map vs DKNY advertisement:

The cityrail map is an example of Baines & Haslam’s analytical approach as it is presents a large amount of complex information that has been organised in a logical, informative manner. The key places an important role in accompanying this information and is essential in the understanding the data. There is only one typeface used which creates simplicity and the small text used creates a consistent, basic hierarchy, with the heading being the main element, followed by the map itself and lastly the key and information located on the bottom.

On the other hand, the DNKY advertisement represents a conceptual approach to designing information as the concept and idea of the ad is encapsulated with minimal text, yet still communicates a message to the audience. The branding and promotion is represented through the use of the apple image, which symbolises the slogan ‘be delicious’. This creates a visual symbol/metaphor and demonstrates an ad that relies mainly on image to convey the message, rather than text. The visual hierarchy in this example is much stronger than that of the Cityrail map as various sized text are used to draw the eye to various areas on the page.

The Foundry Measure series provides a set of paper measuring tools to measure a huge range of things - Produce in season, Wine, Height, Lunar phases, and Yearly calendar. The collection of cleverly designed paper tools are simplistic and have a consistent and striking colour palette that draws in the eye – this combination allows for these charts to be easily read as well as visually appealing. The Foundry measure series is an example of a successful analytical approach to design by containing a huge amount of information for each paper measuring device as well as easy to understand symbols and charts - all of this working harmoniously thanks to its careful and simplistic layout.

The Borders Online store receipt is a classic example of design concerned with documentation. It provides all the information required about the order in a simplistic and easy to read layout all without even a little aesthetic detail. This form is filled out by a computer once an order has been processed and this may be the main reason for the bland look of the document. The typefaces used do not sit well together and the page margins are inconsistent, this combined with the mass of white space makes it as un-designed as Baines and Haslam's "Four broad approaches to design" describes.

Posters: Antony and the Johnson's / Apricots.
Written by Adrian John Ross Moore
z3255441

When considering the structure of information in graphic design, there are two approaches available to designers that are able to convey depth and sophistication within their particular medium: a conceptual approach and an expressive approach.

A conceptual approach is seen in the poster designed by Jason Munn for the band ‘Antony and the Johnsons’, where Munn has successfully developed a conceptual start point of lyrical content, album inspiration and philosophical beliefs, into a communicative piece that symbolises the very nature of the band. This poster illustrates this visual metaphor that successfully uses a strong reading line, alongside a harmonious visual hierarchy to guide the audiences’ attention to the information that is the band’s concert date.

The second entitled ‘Apricot’ is a poster for a film showing at the Chauvel Cinema, which has been designed to immediately draw an emotional response from the viewer, known as an expressive approach. The result of such an approach communicates the depth of the film through the development an emotive use of visual hierarchy that creates a link between the warmth and innocence of the image and the elegant hand treatment of the type in the films title.

Both posters communicate the necessary information for which they were designed however through two ultimately different approaches they are able to illustrate a sense of depth that intrigues the audience into further interactivity.