TYPO TYPO TYPO GRAGRAGRAPHY PHY PHY AGNIESZKA GOCH
VIC 303 Research + Writing
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Contents
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Graphic Designers role in branding
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Creativity in advertising
4-5
Typography
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The role of ethics responsibility for graphic designers/ art directors
6-7
The effect of technology on graphic design and art direction.
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Essay
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Illustration List
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Bibliography
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Graphic Designers role in branding The first group began with the definition of branding, which can be paraphrased into the experience of a brand the consumer is receiving. They examined case studies, such as Connexxion and discussed the process of graphic designer’s engagement in branding.
Creativity in advertising. This presentation included a wide range of fashion advertising examples. It was strongly focused on fashion brands associated with celebrity endorsement and the impact on sales of ‘trending’ on social media. For instance, they spoke of cases such as the Calvin Klein advertising campaign, which was clearly influenced by, and adjusted for, digital platforms. The Yeezy shoe line was reviewed, as a social and cultural phenomenon to illustrate how celebrity patronage can be crucial in advertising. They also included the role of sound in advertising through examples of the work of Echolab, a sound design studio who gave a lecture at the most recent Offset conference in 2017. They emphasised the importance of sound in reinforcing the brand image, as it is integral to the overall impact and memorability of a brand image.
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Typography Our group discussed the subject of typography focusing on Swiss Style. We presented a range of typographers and type designers such as Stefan Sagmeister, Wolfgang Weingart and Bruno Maag. who was one of Weingart’s students. The start of the presentation considered the historical reference to Gutenberg’s Press and Bible and then moved onto the classification of type including a visual representation of various typestyles. For my contribution, I researched Bruno Maag, a typographer and the founder of Dalton Maag, a London based type foundry. We discussed his work as an individual designer before moving on to case studies on typefaces such as Bookerly, designed for the specific purpose of being displayed on Kindles.
The role of ethics and responsibility for graphic designers / art directors.
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The presentation started by defining the terms, ‘ethics’ as moral principles and ‘responsibilities’ as acts of duty. Designers such as Milton Glaser, Studio Dumbar and Rod Hunt were mentioned. These choices showed a variety of influential design from highly aesthetic methods of Swiss Style to politically incorrect and shocking images. For instance, Rod Hunt’s Illustrations for AIDES might be considered to be highly disturbing, yet they grab attention and that is thanks to inappropriate ways of visualising the message. Group 4 concluded that ‘it is in the hands of the designer how strongly they will adhere to their standards’; however, it could be discussed considering the First Things First Manifesto.
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The effect of technology on graphic design and art direction. The group reviewed the impact of technology on design. They discussed the case study of Saul Bass and kinetic typography. They then moved on to the current technological developments impacting on graphic design practice. Software, such as the Adobe design suite was discussed, as well as new techniques and platforms; including 3D printing, web and app design. They considered the potentially negative and positive sides to the use of contemporary software. They concluded that software improvements can speed up the design process, but without traditional methods, such as initial drawings and preparation, work may result in mechanically designed outcomes. Even though designers should respond to current technological needs and efficiency, the emotional side of design still exists and can be critical in communication and keeping the reader’s attention.
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This essay will discuss how the design of letterforms is often informed by research into issues such as readability and legibility. It will examine how research on reading has discovered that people read shapes and edges before individual letters in words. It will use case studies from the work of Bruno Maag and Jonathan Barnbrook to investigate closely the finer considerations of typographic design. Where Maag and Barnbrook are mavericks, the essay will compare their work with the more traditional typographic ethos of Massimo Vignelli, who advocates minimal use of typefaces for effective communication. It will discuss the science behind reading as well as define terms that are essential to understand the principles of typography. This essay will discuss how the design of letterforms is often informed by research into issues such as readability and legibility. It will examine how research on reading has discovered that people read shapes and edges before individual letters in words. It will use case studies from the work of Bruno Maag and Jonathan Barnbrook to investigate closely the finer considerations of typographic design. Where Maag and Barnbrook are mavericks, the essay will compare their work with the more traditional typographic ethos of Massimo Vignelli, who advocates minimal use of typefaces for effective communication. It will discuss the science behind reading as well as define terms that are essential to understand the principles of typography.
Legibility concerns the recognition of individual letters and words. However, readability is the efficiency of an arrangement of a body copy. Furthermore, readability of a legible typeface can be compromised by applying wrong character, paragraph and layout measures, to a particular purpose. Both legibility and readability are essential to keeping the reader’s attention. Serifs help the eye move over the text with less resistance, as well as reducing eye fatigue. Therefore, serifs improve the performance of a typeface. However, today’s resolution of media significantly increases clarity, so the choice of a sans serif typeface may not compromise the readability or legibility of digital text. As for the applicability of the typeface and it’s relevance to the subject? According to Bruno Maag the typeface should be chosen by conveying the right functionality for the purpose as well as speaking in the right tone.
In describing the function of letterforms, in relation to readability, the process of reading isn’t linear, eyes do not follow the text line smoothly. It happens in irregular intervals, which subdivide into fixations and saccades. Fixation is the point where the eye stops and rests. Saccades are the quick movements between fixations. Serifs are small curves attached to letterforms or symbols that are commonly believed to be decorative, yet their purpose is to increase the legibility and readability of a typeface.
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Bruno Maag is the founder of Dalton Maag, a London based type foundry. He is famous for his strong dislike of Helvetica, a typeface extensively used, even though it is believed to be illegible for large bodies of copy. Dalton Maag is known for their consideration of type design principles and particular attention to the purpose of the typeface, which can also increase the efficiency of reading. Typefaces like Aktiv Grotesk, Bookerly were designed for specific tasks, according to job requirements, rather than only being applied to their media for aesthetic reasons. In case of Bookerly, considering the small size of standard font on the Amazon Kindle, the contrast between thicks and thins low, so that the lines wouldn’t appear to ‘break’ visually while being read. That said, the use of Helvetica by Massimo Vignelli, in the New York City Subway Map design, is, according to Maag unjustified. Helvetica is an industrial typeface and lacks an organic curve, which may interrupt the reading flow. Therefore, the legibility of the typeface can be decreased if applied in this particular case where reading speed is critical. However, the map incorporates small separate pieces of body copy, which could explain the choice of typeface. In order to decrease the popularity of Helvetica, Dalton Maag designed Aktiv Grotesk, a typeface adjusted to current requirements which include technological development. To reflect on the essence of today’s type design, it is necessary to mention Jonathan Barnbrook. Qualities like readability and legibility are significant in type design, but there is more to it than just optical properties. Barnbrook is known for his experimental attitude, political work and an individual voice in type design. His typefaces, such as Mason, Bastard, or Resolution, are exceptional, as each type project is infused with personality of the job character. ‘(…) I don’t believe your work is separate from your life, it’s part of it, so I regard what I do in design as an extension of my philosophy in the way I live my life, rather than the other way around.’ (Barnbrook) That said, work ethics and worldview should also have an impact on design. In conclusion, there are principles that lead to a successful design and qualities that define it. One of these is the choice of an appropriate typeface for the job and, within that, requirements for readability and legibility of type This essay discussed some of those conditions and properties, to explain choices and arrangements in typography.
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Illustration List Fig. 1 https://pl.pinterest.com/pin/126100858295694407/ Accessed (11/5/17) Fig.2 https://twitter.com/calvinklein/ status/705077261087719424 Accessed (11/5/17) Fig. 3 http://studiodumbar.com/work/dutch-police Accessed (11/5/17) Fig. 4 https://www.linkedin.com/company-beta/307567/ Accessed (11/5/17) Fig. 5 http://www.designboom.com/design/interviewgraphic-designer-rejane-dal-bello-03-13-2014/ Accessed (11/5/17) Fig 6. https://www.dezeen.com/2014/08/04/milton-glaserits-not-warming-its-dying-climate-change-campaign/ Accessed (11/5/17)
Bibliography Wheeler, A. 2009, Designing Brand Identity: An Essential Guide for the Whole Branding Team Lupton, E. 2007, Thinking with Type, Second Revised and Expanded Edition: A Critical Guide for Designers, Writers, Editors, and Students Eyemagazine.com. (2015). Eye Magazine | Feature | First Things First Manifesto 2000. http://www.eyemagazine.com/ feature/article/first-things-first-manifesto-2000 [Accessed 18 May 2015]. The Helvetica killer, Creative Review, 2010, https://www. creativereview.co.uk/the-helvetica-killer/ [Accessed 8/5/17] Serif vs. Sans for Text in Responsive Design, https:// www.fonts.com/content/learning/fontology/level-1/ type-anatomy/serif-vs-sans-for-text-in-responsive-design [Accessed 8/5/17] http://www.barnbrook.net/education/ [Accessed 8/5/17] Lund, O. (1999) Knowledge Construction in Typography: The case of legibility research and the legibility of sans serif typefaces http://web.mit.edu/6.813/www/sp16/classes/17typography/ [Accessed 8/5/17]
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