graphic design text & image in graphic design
opening analysis aim
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message
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target group
demands in general identification
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Composition grid
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media
information
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attention
complexity
- decorative typography legibility - amount of information color association and effect - saturation light / dark 足- warm / cold - eye catcher TExT font
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typography as image information hierarchy
image informative
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decorative
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emotional
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communicative
movement - cropping - air relation between text and image - eye catcher
Layout size
-
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text & image in graphic design
Copenhagen Central Station Denmark / flickr.com
opening analysis aim message target group media
Communication should be entertaining. Neville Brody 3/45
opening analysis aim – message – target group
iStockphoto
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opening analysis - media
Restaurant Corporate Identity / Stanislav Bilek, Czech Republlic 2011
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demands in general - identification
Paul rand / IBM poster, 1981
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demands in general - information
Jesper Gregers Larsen - Det kgl teater, 2012 - Poster
Stine Hvid - ofelia beach, 2012 - mural
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demands in general - attention
benetton, tibor kalman, oliviero toscani / Campaign - therese frare / Photo1991
8/45
Composition grid complexity
Design is the method of putting form and content together. Poul Rand 9/45
Composition
Kasmir Malevich / Black Square, 1913
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Composition
Kasmir Malevich / Black Circle, 1913
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Composition - grid grid 1
2
3
4
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10
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12
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avisforside, 2011
politiken / Newspaper frontpage and inside page, 2011
18
19 20 21 22 23 24
1
2
3
avisside, 2011
4
5
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7
8
9
10
11
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17
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19 20 21 22 23 24
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Composition - complexity
Marcel Duchamp, 1953
Fritz Gottschalks 70 year-celebration / Carbone Smolane Agency, Ken Carbone
Marcel Duchamp / Catalogue for Dada-exhibition, 1953
13/45
text font typography as image decorative typography legibility information hierarchy amount of information
If you remember the shape of your spoon at lunch, it has to be the wrong shape. The spoon and the letter are tools; one to take food from the bowl, the other to take information off the page. Adrian Frutiger 14/45
text - font function: display
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reading
t ypogr afisk læselighed
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consultative typography
3. Den gode linjelængde: max. 65 enheder Flere undersøgelser peger på, at en spaltebredder, der i gennemsnit indeholder flere end 6 enheder, er vanskeligere at læse end en, der indholder færre. En enhed er et bogstav, et tegn, et tal eller et ordmellemrum. Det ideelle udgangspunkt for fastsættelsen af linjelængden ligger for både skærm og papir på omkring 0- enheder i gennemsnit (talt op og udregnet på mindst 0 linjers tekst). Bemærk, at på websites kan brugeren jo selv ofte sætte skriftens størrrelse op og ned med deraf flere eller færre enheder pr linje til følge.
papir:
Stoffet i denne publikation har for størsteparten været publiceret før. Dels som artikler i fagbladet Digital Design dels som pdf-filer til download på forlaget Grafisk Litteraturs hjemme-side. Store dele af stoffet er til denne bog bearbejdet og suppleret med flere illustrationer og eksempler. Derudover er det udvidet med kapitler om skrift-familier, om typografiske eksperimenter i det 20. århundrede samt om at klassificere skriftfonte.
< Times New Roman 11/14, spaltebredde 8
skærm:
< Verdana, 9/12, spaltebredde 84 Skærmdump
15/45
text - font
E EE E EE EEEEEE E E E EEE form: from serif to sans serif
Times New Roman, Gill Sans, Dope Jam, American Typewriter, Didot, Bauhaus
Neutra, Copperplate, Berthold Baskerville, Wilhelm Klingspor Gotisch, Optima, Egyptienne
Angie, Nuptial Script, CrashBangWallop, Signa, Shelley, Helvetica
16/45
text - typography as image
harpers bazaar / Page layout, 1930-s
neville brody - Oceans Twelve poster, 2004
17/45
text - decorative typography
Guimar達es JAZZ 2009 / Typography, Illustration, Poster Design, by Atelier Martino&Jana
Stefan sagmeister/ Poster Design to AIGA & Cranbrook, 1999
18/45
text - legibility
Kelmscott Press / The Nature of Gothic by John Ruskin, ca.1890
ink surgeon / On David Carson
19/45
text - legibility
DAvid carson / Page layout, article regarding Morrisey, RayGun, 1994
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text - information hierarchy
dave Eggers / McSweeneyâ&#x20AC;&#x2122;s front page, 2002
esquire / Front page, 2007
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text - type combination informaTionshierarki
plakat, 1875
poster / 1875
marc Bally Plakat, 2008
idea / International art and typography, 2010
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text - amount of information Hvad er egentlig forskellen på Folkekirken og Scientology? H
vis Den Danske Folkekirke var en
“DET ER V EL OGSÅ ET
virksomhed, ville den have rod i
regnskaberne, en forældet distribution
monopol og statslige subsidier. SPØRGSMÅL OM TID, FØR
og en forvirret forretningsplan. Vision, mission og værdier er ellers klare nok – de står vel nærmest mejslet i en stentavle. Men biskopperne som direktion og kirkeministeren som koncernchef
ANDRE INDBRINGER DEN DANSKE STAT FOR
på det danske marked, imens en så substantiel mærkevare som Folkekirken har konstant tilbagegang. Men hvis vi tror på en gennemgribende liberalisering af kulturområdet,
EN EU-DOMSTOL”
med et budget på 5-6 milliarder.
må vi vel også ophæve monopolet og stille alle religioner lige på markeds-
Nu skal den evangelisk-lutherske kir-
mæssige vilkår. Det må være medlem-
kes betydning for vores kulturarv selv-
Islam, Scientology eller Falun Gong.
merne af de enkelte klubber, der vælger
følgelig ikke undervurderes. Og det gør
Verden drejer sig om, hvad vi tror på.
deres medlemskab og bestemmer klub-
det nærmest profant at tale om profit og
Ikke hvad vi ved.
bens aktiviteter.
forretning i disse sammenhænge. Ikke
Forretningsidéen i enhver religion
Det kunne umiddelbart lyde som
desto mindre hylder vi liberalisering og
er en påstand om et bedre liv nu eller
Folkekirkens endeligt. Men det kunne
privatisering på alle andre kulturområder.
senere, hvis man melder sig ind i lige
også betyde en revitalisering. Hvis man
Så hvorfor ikke adskille stat og kirke?
netop denne klub frem for alle de andre.
er indstillet på at bruge penge på et kirke-
Når vi tager til de varme lande, mener vi
Ud fra markedsføringsloven er pro-
ligt bryllup, er det vel ikke urimeligt, at
jo ikke, at for eksempel Irak overhovedet
duktets virkning så dokumenteret, at
præst og kirke skal betales lige som fad-
kan indføre demokrati uden at adskille
det næppe er tilladt at tage penge for
ølsanlæg og blomsterhandler? Og kan vi
stat og religion.
det. En bogklub, der leverede en så
overhovedet tro på en Folkekirke, der
uhåndgribelig vare, ville i hvert fald
ikke kan klare sig i sund konkurrence?
Den indlysende forskel på Folkekirken og Scientology er finansieringen.
ikke slippe godt fra at indføre et auto-
Resten er et spørgsmål om tro. Det er
matisk medlemskab for hele nationen,
Folkekirken er måske lidt skræmmende.
heller ikke nogen bagatel.
som kirkeskatten jo reelt er. Det er vel
Men at en så væsentlig del af vores kultur-
også et spørgsmål om tid, før Scientology
arv drukner i statssubsidiering og vane-
I hvert fald så længe vi ikke ved bedre.
og alle de andre indbringer den danske
tænkning er vel næsten værre – i Grundt-
Uanset om troen hedder Kristendom,
stat for en EU-domstol på grund af Folke-
vigs eget land?
Vi har nemlig brug for noget at tro på.
Jonathan Mak long / Redesign of The Coca Cola “swirl”, 2012
Det er egentlig utroligt, at en noget anløben vare som Scientology kan sælges
SCIENTOLOGY OG ALLE DE
ville nok stå til en lodret fyring, hvis man ser på deres håndtering af en forretning
kirkens stærkt konkurrenceforvridende
mensch / Self promotion in all major newspapers, 2009-2010
Perspektiverne i en privatisering af
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color association and effect saturation light / dark warm / cold
Why do two colors, put one next to the other, sing? Can one really explain this? No. Just as one can never learn how to paint. Pablo Picasso 24/45
color - association and effect yellow: Association: sun, warm Effect: analytic, joyfull, communicative, optimistic
orange: Association: fire, warmth
green: Association: nature, harmony
Effect: energy, joyfull, social, positive
Effect: relaxing, comforting, soothing
red: Association: blood, danger, war, love, anger
Blue: Association: sky, ocean, soul, seriousness, cool, silence, longing
Effect: exciting, aggressive, panic, focus, energy, attention, performance enhancing
Effect: soothing, relaxing, melancholic
purple: Association: mystic, royal, wealth, spiritual Effect: melancholic, creative 33/42
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color - association and effect
“Dude where’s my car” / By Victoria Lam
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color - association and effect
Henriâ&#x20AC;&#x2122;s Walk to Pari 2012 / Leonore Klein, Illustration Saul Bass
pukka mynthe the / Packaging
30 DAYS OF NIGHT 2007/ Sci-Fi/Fantasy, Horror
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color - association and effect
BETTY BLUE / Poster, 1986
love/ Magazine cover. nr.1 Spring-summer, 2009
28/45
color - association and effect
The three colours triology / Krysztof Kieslowski 1993-94
29/45
color - light/dark & warm/cold
Amsterdam Sinfonietta / Poster exhibition in Shanghai 2010. By Studio Dumbar
Harry Potter and the Deathly Hallows / Poster 2010
30/45
color - saturation
Hairspray / Poster, 2007
Zero Decibels / The Quest for Absolute Silence, 2010
31/45
color - eye catcher
Wolfsschlucht / Short movie 2003, Producer: Tobias Pausinger
Tage des deutschen Films in Tbilissi georgia / Andrea Tinnes, 2002-2004
image informative decorative emotional communicative
Simplicity is about subtracting the obvious and adding the meaningful. John Maeda 33/45
image - informative
Ibanez Guitar catalogue / 1974
34/45
image - decorative
Magazine spread / Machel Breakfield
35/45
image - emotional
â&#x20AC;&#x153;hus forbiâ&#x20AC;? / Advertisement, 2011
36/45
image - communicative
adidas / Leagas Delaney, 1999-2000
37/45
Layout size movement cropping air relation between text and image eye catcher
Design can be art. Design can be aesthetics. Design is so simple, that's why it is so complicated. Paul Rand 38/45
layout - tension / size
The John P. Mcnulty prize / Poster by Poulin Morris inc. 2011
Josep M端ller-Brockmann / Auto Club of Switzerland Poster, 1955
39/45
layout - movement
Max Huber / 500 Miglia di Monza 1957, poster
Book cover / The Berlin Stories by Christopher Isherwood, 1945
40/45
layout - cropping
carne / Magazine - September 04, 2011. Cover Artist: Joseph Marconi
Japanese film festival 09 / Ryota Iizuka, student & Simon Johnston
41/45
layout - air
024
Below_ Working with the idea of typical Dutch houses, John Koermeling’s Dutch Pavilion also has something of the funfair about it Bottom_ Spain’s addition shows wicker doesn’t have to be limited to the conservatory. Miralles Tagliabue EMBT has made a beautiful swirling structure from the material
Below_ The Beijing Pavilion has a strongly geometric, repetitive facade. The wishbone columns look impossibly thin compared with the massive, folded roof structure
Above and left_ Denmark’s spiralshaped building, designed by Bjarke Ingels Group, has a pond at its centre displaying the Little Mermaid – the first time this famous statue has left Copenhagen
christian richters (main image; bottom left; bottom right); inigo bujedo aguirre (this page, top right); hufton + crow (facing page, top left)
global recession, and having done comparatively little for the last few World Fairs, almost 200 countries are now keen to show their faces, almost 100 of which are springing (Iceland and Greece included) for their own pavilion in what is in essence a Chinese show. The secret of this Expo is that it’s important because it’s a Chinese show. George Osborne, the UK’s new chancellor, who visited the Expo in June, has made explicit what a lot of other chancellors are well aware of: that for rich nations with big deficits, growth in China is the most promising lifeline to hand. Within this context, a presence in Shanghai has the salient purpose of national brandbuilding. The Expo is best understood as a grandiose Olympics of commerce, with competition going on for Chinese business, investment, tourism, students, and the favour of the all-new yet curiously elusive Chinese consumer. Around 100 million Chinese people are expected to visit the Expo, and if you can convince each of them to buy just one British export... The architectural rhetoric is unequivocal in confirming this politico-economic structure. Towering over the Expo Park is the China Pavilion, explicitly designed to resemble an ancient Chinese crown. This posits China’s imperial heft looking out over an emperor’s court of mendicant supplicants, each desperate to display their cloth. Yet while the staging is old, the modern age of global media has given these acts of display a distinctly modern twist. In 2010 nobody is really interested in using a World Fair to peddle their latest inventions. After all, it is a peculiarly
The Architectural Review / July 2010 / View
AR / Architectural Review. Creative director Violetta Boxhill
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Layout - relation between text and image
HUCK #24 / The David Carson ‘Action Special’ Issue, 12/2010
Tibor kalman / Colors cover 1994
43/45
Layout - eye catcher
Campaign for Animal adoption / Suburban Advertising, New Jersey 1998.
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bibliography books:
Web:
Ellen Lupton, Thinking with type, 2010
The Inspiration Room: http://theinspirationroom.com
Simon Garfield: Just my type, 2010 Thinking with type Bo Bergstrรถm, Essentials of visual communication, 2008
http://thinkingwithtype.com
Adams Morioka og Terry Stone, Color Design Workbook, 2006
Graphic Design Archive: http://library.rit.edu/gda/
Quentin Newark, What is graphic design?, 2007 Design is history: Kristin Cullen, Layout workbook, 2005
http://www.designishistory.com/
Richard Poulin, The language of Graphic Design, 2011
Flicker: www.flicker.com
Laura Meseguer, TypoMag, 2011 Behance: Mario Pricken, Creative Advertising, 2011
www.behance.net
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