MODERNISED TRADITIONS
GRAPHIC COMMUNICATION ELLI-MAY GREEN FINAL MAJOR PROJECT
I am now going to be furthering my research into Editorial design, forming a sense of modernised style.
“ Editorial design is a very interesting field that is combining all clever compositions, editorial layouts, and creative typography to visually attract consumers�.
TYPE STYLE
“ A font is a collection or set of letters they’re the mechanism you use to get your message across to the reader. Every letter and dash and semi-colon would be considered part of a specific font.”
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“Throughout history, typefaces have been influenced by technological advances, cultural shifts, and the state of typography.”
TYPOGRAPHY
“ A typeface is the design you see, the style and look of a specific font.”
“ Typography is the art of creating the letters we use every day. Its designing them and creating them and making them real.”
It is important to understand typography, especially with my final design being of an editorial piece. The layout, typeface and sizing all effect the style that is being communicated. This impacts the targeted audience that it is then being communicated to. I began my research from the start looking at the historical content that influenced the development of typography, as well as understanding how it is used today in modern context. I was intrigued in all the different development techniques typography has gone through, especially with the impact of technology and how it advanced itself. For my editorial piece it was challenging from the beginning to communicate traditional conventions through modernisation in print.
“ A font is a collection or set of letters, they are the mechanism you use to get your message across to the reader. Every letter and dash and semi-colon would be considered part of a specific font.”
The next innovation of typography after ‘Roman’ letters was Italics, which are slanted and a stylised version of Roman type. Albus Manutius from Italy created this typeface as a way of fitting more letters onto a page, now we use the italics for emphasises. He also created the modern comma and semicolons.
The first ever typeface was created in the 15th Century by Frenchman ‘Nicolas Jenson’, he worked mainly in Venice, Italy and was inspired by the lettering found on ancient Roman buildings. His letterforms were based on straight lines and regular curves this made them very clear and legible compared to the dense darkness of Blackletter.
TYPE
Paul Renner created a new typeface called ‘Futura’, based on simple geometric shapes called the Geometric Sans. Eric Gill created ‘Gill Sans’ with gentler, more natural curves, this is called Humanist Sans. Switzeland introduced ‘Helvetica’ with simple curves and a variety of weights.
The first ever typeface was created in the 15th Century by Frenchman ‘Nicolas Jenson’, he worked mainly in Venice, Italy and was inspired by the lettering found on ancient Roman buildings. His letterforms were based on straight lines and regular curves this made them very clear and legible compared to the dense darkness of Blackletter.
William Caslon created a new typeface that set a new standard of having legibility, this style is now referred to as ‘Old style’.
Typography changed with the introduction of computers, this allowed for the creation of typefaces with the freedom of being able to create their own unique typeface.
1855
This had a major impact on the way’s books could be printed, looking at the process of the design format and how they have advanced today. When looking at the past techniques it establishes how the use of print can change a whole style and layout of a formation. Linking with traditional codes and conventions corresponding with my field of study focus. Com paring traditional to how publishing design has been a cause of change through visual communication.
Johannes Gutenburgs main occupation was an inventor, known for the introduction of movable type for letterforms and the printing press in Europe. Rather than the use of wooden blocks to press ink onto paper for the letters, Gutenburg used all movable metal pieces to quickly create pages. This was a dramatic improvement and allowed books to be acquired by the middle class for the first time. Each type was a single letter or a character.
Looking at the way typography was developed using the simple tools to form to letters, indicates the importance of the typography as a key of communication. The legibility of the letters had to be clear to be understood, this corresponds with the way editorial design
JOHANNES GUTENBURG
1931
John Baskerville created a new variety of typefaces which we call ‘Transitional’. Didot and Bodoni created typefaces that are classified as modern. This insight as part of my research helped with the development of my style and the perspective. The style of being more Modernised as a style for my publication needed the right typeface to fit the criteria. I am going to experiment with both these typefaces to get a better understanding on my style and the way I want to communicate my dissertation as a publication piece.
OLD STYLE
TYPE IS POWER
There has been a change in the composition of the elements that constitute to fashion concepts, when looking at traditional fashion and the change in periods. This is witnessed in all different social groups liking with subcultures, ethnic groups, alternative lifestyles, workplace and leisure cultures when looking at the institutions of everyday.
William Caslon the fourth removed serifs to create Sans-serif. The second industrial revolution advertising created a need for new typefaces. Letters made taller and wider for posters and billboards.
Transitional has letters with thinner serifs and a higher contrast between thick and thin. Old Style has letters that have fixed serifs and low contrast between thick and thin strokes.
TRANSITIONAL
The power to express words and ideas visually. It’s timeless, and always changing. The first books were described by hand, this was very time-consuming. Gutenberg created ‘Blackletter’, the first ever typeface, modelled after the writing of scribes. Black letter has thick vertical lines and thin horizontal lines, but it looked very dense and squished together when printed. This is very different in how I want to communicate my style, with a more Modernised perspective with the codes and conventions used in High-brow publications. With the disadvantages with Blackletter, this had to change which influenced the introduction of ‘Roman Type’.
“ Type well used is invisible as type, just as the perfect talking voice becomes the unnoticed vehicle of the transmission of words and ideas.” – Beatrice Warde
RELEVANCE
UNDERSTANDING
The quotes help me as a designer to get an understanding of the deeper meaning of type, how other designers view its purpose. The overall communication revolves all around type, how we communicate a deeper meaning through the visual representations.
KIMBERLY ELAM
All designs are based on a structural system, the typographic organisation is complex because the elements are dependent on communication in an order to function.
The eight typographic systems have a set of rules that is unique and provides a sense of purpose that focuses and directs the sense of decision-making. The design then becomes a visual language based on the shape grammar. These are the Axial system, Radial system, theDilatational, Random, Grid, Transitional, Modular and Bilateral. Each of the systems has a distinct aesthetic and visual language, all the systems can be crafted to be able to then communicate with a very dynamic energy. The systems are the best to be used as an interpretive communication tool, whereby the designer has considered the message tone, the structure, length and meaning. The typography blends with the message to become as image, which becomes a dynamic invitation to the reader and one that thenenhances the meaning. The other feature including the leading is variable, which creates the changes in position and textures. Variable word spacing and letter spacing creates distinct changes in texture and tone visually. Using a nonobjective elements sharpens and articulates the composition. Typography is functional in the communication of a message, the nonobjective elements enhance the functions of emphasis, organization and balance. The nonobjective elements become functional guides when used with the designed typography and communicate the message
more clearly by enhancing the use of a visual hierarchical order and directing the viewers.A circle of one size gives a designer a tool to guide the eye, creating a point, tension, emphasis to contribute to the visual structure for balance. The place ment of the circle can dramatically change the composition. There becomes a set of rules then used for the typography these include the line lengths within the design. Single-weight rules of equal lengths are primarily used as elements of an overall organisation. The change in weight creates a rhythm and guide the eye downwards. Altering the length which creates a strong diagonal composition. A change in the weight creates a hierarchy by guiding the eye to the largest volume of black. The circle series is a point that creates the use of a hierarchy, it shows ways in which the circle draws the eye to a single word making it the first word to read in the composition. The use of tone can change the hierarchy of a message, drawing the eye to the highest volume of black on a white background or white on a black background. Gives the message a sense of visual punctuation.
GRID Book Research on Typographic Systems. Edition 01
The axial system is the simplest system, all elements are organized either to the left or the right of the axis. The axis can be placed anywhere in the format to create a symmetrical or asymmetric composition.
Investigate with the changes in texture that occur with positive and negative letter space, with airy textures or with more dense textures. The placement of the axis is shifted and the appreciation of the beauty of an asymmetry is developed.
A harmonious grid and a full use of a typographic system is one which is all internally consistent. It establishes the defining goals with the design as well as principles, having a abstract concept that describes the look and feel of the final product. Adjective statements help define brand boundaries, for example when looking at minimalistic designs looking at a style such as modern. For my research I have been gathering a variety of designs and all typographic inspiration that I believe exemplify the design principle.
The primary understanding of the hierarchy of content, making the content as readable as possible. Making sure the typefaces suit the medium intended for, this is specifically for a print platform for my project as an editorial piece. Looking at both principles and design inspirations, looking at graphic elements such as patterns that can be adopted. Through research it has outlined that headings frequently use dramatic Serifs, they use bold, condensed, Sans-Serif. This develops a feel for how certain types of brands such as Irish Dancing brands use typography to communicate their values. Typography for headings can be more stylised than the body copy. Narrow choices down to three for a heading, these will then be paired with the body typefaces.
TYPOGRAPHY, GRID SYSTEMS, AND USING HIERARCHIES
Understanding the history behind the beginning of publication design.
The function of the publisher is the main selecting, editing and designing the material, arranging its production and distribution. In the late 18th and early 19th century, reading was a privilege skill available to the upper-class elite. Books were expensive items for many people, this meant that very limited people had the privilege to experience books. The most famous and prestige bookshop was ‘The temple of muses.’ Many novels were accompanied by illustrations depicting scenes from the text, ranging from full double page images.
PUBLISHING
HISTORY
Publishing as it is known today depends on a series of three inventions looking at writing, paper and the printing. Printing was first invented in China as a form of block printing. The printing in Europe has been at the heart of the expanding intellectual movement This brought printing words as its powerful position as a means of influencing minds and hence societies.
Thomas Hardys novels were first serialised with illustrations in magazines or newspapers. This identifies the wood-block as being the most significant made of production, behind Victorian illustrations. The technology advancement of the woodblock enabled the image to be printed on the same page as text. Enhancing the correlation between word and image. The history of publishing, an account of the selection, preparation, and marketing of printed matter from its origins in ancient times to the present.
SELF PUBLISHING
Looking at different famous books that were originally self-published. This gave me an insight into how self-publishing was evolved, as well as how they were presented at the time visually with design trends.
VISUALS
The five famous books I looked at were A Christmas carol by Charles Dickens in 1843, Leaves of Grass by Walt Whitman in 1855, The Joy of Cooking by Irama S. Rombaver in 1931, 114 Songs by Charles Ives in 1922 and Swanns way by Marcel Proust in 1913.
I began looking at self-publishing and traditional publishing, looking at self-publishing a high-quality book cover is the most important element. The reason is because the cover design is what the readers see first.
Looking at how designers visually communicate their books, with the way it is first interpreted. This developed my design to challenge the boundaries of publishing, looking at different formats as well as the different conventions of the platforms. Making it visually engaging with the use of typography and imagery. This attracts consumers of class, age and gender when publishing.
FORMATING
A clear hierarchy and readable typeface help create a layout that is inviting to your reader. Professionally formatted text is an important part of book design. The file format is independent of the application hardware, software or operating system, and can capture all the design intent information that needs to be represented.
Using a grid formation on each page provides a solid underpinning to the page structure throughout the magazine design. Developing the graphics with data visualisation, looking at the audience population of platform such as social media and the influences. Looking at consumer social class to target the right consumer and design in a way to target that specific consumer. These are the key stages that will help with the development of my work when structuring my editorial final piece. Looking at the key stages for the production process in how the codes and conventions of a fashion base magazine organises its design process.
HIERARCHY
“Self-publishing has changed everything. Before, you were at the mercy of being just a publisher on how your book format looked, but today, you have control over the whole entire process.”
A hierarchy is important for both the typography and as well as the use of visual content. This is to ensure that both are being communicated efficiently without being overpowered with both elements. The way I have incorporated a hierarchy within my design is establishing the use of colour, sticking with three main colours white, black and purple. I have also limited the imagery colour by editing them to black and white, I feel they communicate better visually as well as linking with the typographic style of conveying modernity.
Be cautious with hyphens, know when to use quotes verses an apostrophe. Use a specific style to have consistent throughout the book format, this gives a feature and an expression for the overall book and how it is being communicated. This use of style will give the book format a tone of voice, as well as expressing the information to the right consumer and the way it wants to be read.
Avoid having double spaces “The more modern single space rule. From an aesthetics angle, one space looks neater, which your readers eyes will appreciate.”
DESIGN PROCESS
The project development is having defined the problem in the discover stage, the define stage covers just the initial development of the project ideas and then the components needed to solve the problem at hand.
The key features of a magazine are to have the big idea, the reason because, the values, vision and personality. This brings value to the audience, when targeting the consumer of the market and then using this to be communicating to them appropriately. The next stage is then to identify the framework, this is the reason as to why you are designing and how it is then going to be communicated. Creating mood boards of issues and sections to get a sense of style and to understand the structure for a narrative. This would be used with the way of structuring my own dissertation on how it is going to narrate to a consumer. Creating the magazines tone of voice, bringing in a personality, a ‘look and feel’ through the use of visual language. The fourth stage is commissioning the editorial stage, having the content inside with a style and finalised. The promotion of the publication is also an important stage in the design process. This forms an emotional connection when having a potential audience, creating all the visually appealing promotional tools such as mood boards of visuals. The cover is the first impression a consumer has of the magazine, the primary aesthetic to tell the story.
Delivering the outcome is the final testing, approval and the launch in which it is getting presented. This is the targeting, the elevation and feedback looping to ensure it fits the brief. It is vital to understand future trends this involves the consumers behaviour and preferences in relation to the project or service offered by the company. There are new modes of communication, looking at the different platforms that best suit the targeted consumer and how information can get to them directly and effectively. New service needs that may emerge on the basis of social, economic or environmental changes. The define stage should be thought of as a filter where the review selection and discarding of ideas takes place. The four important stages all involve the understanding, the overall communication, ideate and the testing. This includes the generation of ideas and project development, with the ongoing project management. Including all the corporate objectives agreed and project sign-off.
DOUBLE DIAMOND DESIGN PROCESS MODEL
A simple graphical way to describing the design process is the four stages, discover, define, develop and deliver. The discover stage marks the start of the project, the initial ideas and inspiration that has influenced the project or the purpose for the design. This involves market research, user research, managing information and design research groups. This helps collect research for the production of the design, understanding the needs of the consumer. The define stage is about the project development, looking at the project management and the finalising of the project. This influences the development aspect of the
design, having multi-disciplinary workings of the outcome, having visual management of the project and establishing the visual style. The development methods enable the design to be experimented with to look at different outcomes and experimenting with different design aspects, looking at the development of imagery, colour and the use of other geometric visuals in addition. This then needs to be tested, looking at different ways of being printed, looking at what gives the best effect as well as ensuring it is getting communicated correctly.
Understanding the design process of editorial magazine design, looking at the key features needed to establish the codes and conventions in particular with a fashion magazine to link with my dissertation for my FMP.
UNDERSTANDING EDITORIAL AND PRINT DESIGN
What is Editorial Design?
Print Design
Always better to use too few than too many graphics. When using graphics and photos it is important to make sure they help illustrate the point. Rather than filling a space. Consistency is important to create a harmony for the design style overall. It is important to not mix styles of illustrations or photography.
Editorial design can be divided into the following media categories this is within Newspapers, Magazines, Newsletters and Business reports.
“ White space should be used wisely, just because the space is there doesn’t mean it has to be filled. It gives the eye a break and helps to highlight the key important points. Making sure there is enough space around the edges and in between each columns and articles.
Print media is the process for reproducing text and images, typically with ink on paper using a printing press. This includes Magazines, Newspapers, Newsletters, Books and flyers.
Watching the flow of the work, looking at the style and the perspective of the work as a style and communicating a personality. Drawing people in at the top left corner than to strong mid graphics to then end in the lower right corner.
The goals for print design is to reflect work through a variety of creative mediums. This involves being creative through the process and reflecting that process. The project images have the purpose of getting the audience into the mind of the artist, or the artist you are trying to be through the work.
Selecting appropriate font treatment, this includes picking no more than two typefaces per document. Sticking to a simple, clean font for easy body copy readability for emphasises on certain words or phrases. Using italics, boldface or underlining sparingly ensuring that the typeface matches the personality.
Editorial Visual Pathways through Design elements.
For my visuals it was about understanding what is being communicated through both typography and the use of photography for my editorial pages. Visual pathways is a key feature for design, looking at the different contexts and finding the best way to communicate these concepts. I looked for different theories that best suited my work visually. I wanted to have modernised visuals that elaborated my style throughout, I was interested in Moire patterns as it best suited with the modernised concept. A moirĂŠ pattern is caused when
the screen angles of an image are not set to the required angles, or if the image was re-screened without slightly de-focusing the image so that the dots of the printed image being scanned are out of focus.
MOIRE PATTERN
Watching the flow of the work, looking at the style and the perspective of the work as a style and communicating a style and personality. This helps with elaborating my visual pathway for my design, which is contradicting the image built up around Irish Dancing having to always look perfect without flaws. This challenges the traditional conventions as well as the way in which it is being modernised.
VISUAL PATHWAYS
BROKEN TYPE
“
The broken type project influenced my work with the intention of allowing me to be freer with my typography as well as visual concepts. This project was based on the imperfection of type as we see it so clearly written or on screen, it challenges consumers to view the different angles and engaging with different concepts. The layout of the typography emphasises the geometric shapes within the letterforms. This imperfection linked with my work challenging the concept of Irish Dancing traditional conventions and making them modernised within print. The layout made me re-evaluate the different layout forms for my publication, looking at interesting ways to engage with consumers without using a typical book. It does not need the colour to show the clear layout and letterform, which makes it more visually engaging.
“
My intention is to change the perspective of the prestressed broken type to a better image. I want people to look at it differently, to pay more attention to the great details of the letters and to encourage them to start using it. For this reason, I developed a 3D poster where the letter ‘S’ changes to a ‘S’ set in steel plate texture as you pass by. Your perspective is literally changing in front of your eyes.”
TYPE Typography for headings should be interesting, typography for body copy should be legible and readable. When using a dramatic heading, using geometric Sans-Serif for the body works with the pairing. Using a thin, modern Sans-Serif, is good with a pairing with a classic Serif. Single typefaces also work for headings and body copy, to achieve contrasting variety font weights such as bold for headings and regular for body copy. Creating a artboard matrix, pairing different fonts, altering all features and weights, leading size and style.
ERIK MARINOVICH
Eric Marinovich works with a range of different techniques as a designer. He specialises in typography as one of his key styles of design. However, I was intrigued by the way he incorporated typography and photography in many of his designs. This was used for advertising as well as publishing adverts in magazines, which I felt linked with my design work. He uses very simple and minimalistic imagery to emphasises his intricate use of typography to communicate to the audience. Working with both typography and photography has not limited his expression of type, especially when theories emphasise the need to keep both elements simple when combined together. He challenges this with his use of design as well as the use of bright bold colours, which each element holds its own as powerful.
Erik Marinovich is a letterer, designer and co-founder of the popular sketch blog Friends of Type. He’s spent the past ten years creating more letters than most could even fathom. His work has been featured in the the Type Directors Club Annual as well as the Communication Arts Typography Annual. Erik believes it’s ok to drink a whiskey at lunch (occasionally) and thinks Doyald Young was a demi-god.
Erik Marinovich is a letterer, designer and co-founder of the popular sketch blog Friends of Type. He’s spent the past ten years creating more letters than most could even fathom. His work has been featured in the Type Directors Club Annual as well as the Communication Arts Typography Annual. Erik believes it’s ok to drink a whiskey at lunch (occasionally) and thinks Doyald Young was a demi-god.
Erik Marinovich Clients include: Nike, Target, Coca-Cola, Google, Facebook, GAP, Sonos, Newsweek, The New York Times, The Atlantic and Wired magazine
MARCUS ERIKSSON
The focus of the dance movement being expressed through the photography, is had intrigued me into this designer. Linking with the importance of Irish Dancing, the movement expressed through structure of a powerful performance.
DESIGNER
The work is gripping, visually stylized. Composed, but never contrived, Marcus draws upon a deep technical view for the understanding of his craft, as well as a clean aesthetic influenced by his Scandinavian heritage. He currently splits his time between Los Angeles and Vancouver, where he lives wife and two young children.
The work of designer Marcus Eriksson is the immediately identifiable in its ability to be able to communicate a moment that is at once evocative as a style.
Typography changed with the introduction of computers, this allowed for the creation of typefaces with the freedom of being able to create their own unique typeface.
The work of Marta Cerda is very similar to Eric Marinovich, with the way she works incorporating both typography and using photography in her work. However, she keeps them very separate with typography on one page and the photography being powerful on the next page. This however works with her designs, especially when used for advertising products or fashion brands. I used elements of her work with my editorial design when understanding the importance of showing the hierarchy with typography as well as photography for my own communication tool. She uses a lot of bright colours within her work
as well as graphic elements of shapes, I felt this worked well when highlighting areas on the page to visually emphasises. This also gave the page a connection rather than being two separate pages. I then incorporated the shapes of a square throughout my work to make the connection with the typography and photography. However I felt the shape was linking with the typography geometric letterforms.
MARTA CERDA MARTA CERDA’S CLIENTS INCLUDE Nike, Coca-Cola, Google, Ray-Ban, Volkswagen, Random House, Penguin Books, Wired, ESPN, Esquire, Fortune, The Guardian and Vanity Fair
Marta Cerda influenced my work with the use of both typography and images. The way allowed the type to be expressed as well as the images not being overpowered. Incorporating this sense of style into my work, helped with the expressing of type used for my research as well as having black and white images to create the sense of style. The fancy typography used amongst her spreads, elaborate on the sense of consumer the magazine was for as well as expressing its communication of having a purpose. The elaborated typography engages the consumer immediately which is how I want my work to be consumed.
Marta Cerdà is a graphic designer from Barcelona. Her main body of work focuses on the boundaries between typography and illustration. Before founding her own studio in 2008, Marta worked in advertising agencies and design studios across Europe. On her own, she has contributed to global projects calling for design, illustration and custom typography for art, culture, editorial and advertising clients. Her work has been recognized by professional organizations including the Type Director’s Club and the Art Director’s Club, where she was named as an ADC Young Gun.
Understanding the history behind the beginning of publication design.
It introduces relevant solutions for a print landscape that has been and continues to be changed indelibly by the economic upheaval and our shifting media uses and preferences. I initially used this book as a starting point for my project, referring to different layouts within the book as inspiration throughout. This enabled me to challenge typography and the structure, which i then repeated and developed as a process.
TURNING PAGES Turning pages establishes a range of different layouts that focus on the typography aspect when forming a conservative style. The layouts are formulated and structured with the use of a grid that expresses the alignment of the text in different sections as well as incorporating the use of imagery. The sections with imagery helped with my development, experimenting with the structure and layout rather than having one image on one page and typography on another. This became very repetitive and did not show my design to its full potential.
INITIAL IDEA DEVELOPMENT
The book provides an overview of the editorial process as well as valuable perspectives on how different designers are meeting the challenges of creating outstanding print products for today and the years to come.
The technology advancement of the wood-block enabled the image to be printed on the same page as text. Enhancing the correlation between word and image. The history behind all publishing, is an account of the selection, preparation, and the marketing of the printed matter from its origins in ancient times to the present.
Thomas Hardys novels were first serialised with illustrations in magazines or newspapers. This identifies the wood-block as being the most significant made of production, behind Victorian illustrations. This developed my context when looking at editorial design, as I felt the corresponding link with tradition of the garments was to correspond with the traditions within print. This being of a newspaper/ tabloid.
Publishing as it is known with printing.
The function of the publisher is the selecting, editing and designing the material, arranging its production and distribution. In the late 18th and early 19th century, reading was a privilege skill available to the upper-class elite. Books were expensive items for many people, this meant that very limited people had the privilege to experience books. The most famous and prestige bookshop was ‘The temple of muses.’ Many novels were accompanied by illustrations depicting scenes from the text, ranging from full double page images.
Publishing as it is known today depends on a series of three inventions looking at writing, paper and the printing. Printing was first invented in China as a form of block printing. The printing in Europe has been at the heart of the expanding intellectual movement. This brought printing words as its powerful position as a means of influencing minds and hence societies.
“ Photography is much more effective at depicting a specific subject referenced in the piece. This includes a person, an object or a place, it can also achieve powerful impact, and control tone and mood. It allows for an art direction that will suit the specific layout, style and tone of the piece.�
D’SCENE MAGAZINE
“ DESIGN SCENE is curated as a daily fashion, design & lifestyle destination. DESIGN SCENE is non-for-profit fashion and the culture basis organization which aims at further development of research on DESIGN SCENE values.”
“ I want to make sure I am expressing myself in an authentic way. I find it fun to connect with my audience on YouTube on Instagram, I try my best to express who I am and what I stand for. Everything I share is me and I do my best to always remind myself how important ethnicity really is.”
“ Representing one’s true nature or beliefs, true to oneself or to the person’s identity.”
WHAT IS AUTHENTICITY IN A PERSON?
D’Scene magazine helped with the development of my work, looking at the use of photography as well as incorporating a sense of style. This helped me to understand the way editorial design has developed, with the most up to date publications. Looking at the way they incorporate their codes and conventions throughout each design. The style is very modernised which links with the style of work I want to portray. As well as attracting consumers of a highbrow culture, looking at fashion and the way it is visually seen through print.
“ Photography exclusive New York model management ‘Sanne Vioet’ interview to talk about conquering social media, runway moments and importance of health and wellness.”
Typography changed with the introduction of computers, this allowed for the creation of typefaces with the freedom of being able to create their own unique typeface.
They set the tone for our photo sessions and thanks to them The Mirages has gained popularity worldwide. How it was The first photos capturing gracious moves of ballet dancers came out in 2015.
It is this insane mix of brittleness and hardness, lightness and strength that attracts our attention and allows us to create unique photos of the dance frozen in eternity.
ALEXANDER YAKOVLEV
Motion and dance are the main topic and objective of The Mirages that is the project able to reveal a mystery of fascinating grace being demonstrated by professional dancers, gymnasts and ballerinas
The work is to show the dance in an “embrace� of white clouds. In such a way the internet saw a series of images that received plenty of positive feedback and marked the start of The Mirages project. At the present time, our team includes not only ballerinas but also professional gymnasts, dancers and actors.
Their bodies horned to perfection by long rehearsals are a paragon of perfect beauty, impeccable posture and grace. And what is more, they are a vessel full of infinitive perseverance and inflexible will.
Gaining Inspiration for Editorial Design. Artist Research
DESIGNER STYLE
AARON FEAVER
He moved to Los Angeles in pursuit of a career in graphic design that he found an old Polaroid camera at a thrift shop in Venice. Since then, he’s built a career on fashion photography and portraiture across a broad range of styles and subjects. He works a lot with Art and Motion. Art & Motion manages a boutique roster of photography, motion, lettering and illustration - representing artists that partner with creative teams, bringing ideas to life.
His clients include Vogue Paris, Cult Gaia, GQ, Esquire and Playboy, and he is proudly represented by Art & Motion.
“Art & Motion represents a curated group of photographers, directors, illustrators and lettering artists for commercial and editorial projects worldwide.�
Aaron Feaver focuses on photography as a designer, looking at the way he can capture the moment. This expands on my editorial research, looking at the layouts as well as the visual content. Understanding the importance of photography, how it can make up a page visually, when combined with typography. When looking at his work and books that he has designed, the photography is clean, sharp and visually engaging. He used a range of techniques that included close-ups, full body image as well as abstract editing which made it challenging but engaging for consumers to work out. His work inspired me to challenge myself with the use of photography, as well as working on the editorial layout for a style that would be consistent.
Juco as a designer focuses on photography, with the use of bright colours within the images being exposed. The photos are based on fashion, with the use of the close-ups, portraits and clothing. I was visually engaged with this designer as he challenged the conventions of a typical fashion shoot. Experimenting with the exposure of bright colours which has then developed my editorial design with expanding on photography. He works with a clean layout, very simple style and minimalistic to allow the images to speak for themselves.
JUCO
“ JUCO has become known for their bold use of color, the art direction and signature eye for detail across their entire body of work. Julia and Cody are based in Los Angeles.�
PHOTOGRAPHY
JUCO represents the collaborative work of Julia Johnson and Cody Cloud. They first met in 2002 at The San Francisco Art Institute, where Cody received his MFA in photography and Julia her BFA.
JUCO’S CLIENTS INCLUDE Vogue Taiwan, Paper Magazine, Cosmopolitan, Glamour, Schön!, Time, The Cut, New York Mag, OUT, Refinery29, Target, Nike, Apple, Saks Fifth Avenue, Clinique, Microsoft, HP, Kohler, Sony Music, and VH1.
“ As a visual communicator, photography is essential to the graphic designer in diverse ways, since images can mean a lot in communication as far as aesthetics are concerned. Editorial Photography is more concerned with a story.�
EDITORIAL
The choice of typography can influence the meaning of the content in particular contexts. The typography helps when guiding the readers’ interpretations to an impression of a serious, in-depth magazine with easily accessible content. I argue that using typefaces that are always frequently seen within a specific visual genre (such as newspapers) provides “hints” and intertextual references that guide the users’ interpretations to all the values of these particular genres such typefaces are economic on paper and practical in print and have been made for and used by editorial newspapers, in magazines, and books - arenas that required cheap printing. In today’s online environments, these space-efficient typefaces now provide little economic and functional value. They are instead being used to communicate and shape meaning about the design, that may influence the conversational space. Professionally set typography can also provide contrasts in the reading experience (contrasts that we often hear in oral language; emphasis on particular words is set in bold or italics), different levels of headings that group different topics together, and quotes that are separated in the text through indents, italics, lines, or different colors. In addition, professionally set typography takes aesthetics into account.
Researchers have previously studied the aesthetics of the reading process and have demonstrated that all high-quality typography can induce a good mood in the reader (Larson, Hazlett, Chaparro, & Picard, 2007), though the readers may not be able to spot the details of the typography themselves. Medium.com is setting its typography in this type of professional manner, with attention to the details Designers, but also readers, are accustomed to seeing this done in professional typographic treatment in the context of in-depth newspapers, magazines, and books. The designer intends to guide the readers’ interpretation to specific values. Looking at the editorial concept research from an article, allowed me to understand the importance of knowing the purpose of the design to be convoyed through the style. The use of typography also reflects the print platform that the publication is being seen. This effects the style as well as the choice of typography. With my publication being printed as a tabloid to represent traditional printing, linking with the traditional conventions of Irish dancing this effect the way that it will be visually seen by consumer. Making the typography legible when printed, as well as incorporating the right imagery to link with the overall style.
DESIGN
Computers, smart phones, tablets, and wearable technology can handle increasingly larger loads of graphics and animations, and our screens are becoming more fine-tuned for typographic details that are enabled through “typographic kits,â€? tools containing selections of typefaces that were previously unavailable for the web. It is argued that designs are not culturally and ideologically neutral (MazĂŠ, 2016), and the design, values, content, and expressions of these spaces may shape implications for how users perceive this surrounding space and feel empowered to contribute
When designing for interactive environments, this communicative perspective of shaping meaning seems less prioritized than functional perspectives or use issues. In design research, communication design is framed as a concept that discusses the complexity.
Trinity paved the way for the contemporary step dancing of “Riverdance,” Michael Flatley’s “Lord of the Dance,” Colin Dunne’s “Dancing on Dangerous Ground,” and countless other Irish extravaganzas.
Howard was always looking for ways to further the art of Irish dance, and so the beginnings of the Trinity Irish Dance Company took hold. For many dancers, turning eighteen meant the end of their dancing days. For some, when they head off to college, it marks the end of their Irish dancing because they don’t have the same availability to train and compete as they did before. Howard was realizing dancers had very limited options after the Academy. It was time to take Irish dance into the performance art space.
In 1994 and 2001, Howard was named one of Irish American Magazine’s “Top 100 Irish-Americans” for his innovative work in Irish dance. His progressive dance company is known for blending together traditional Irish dance with contemporary American ideas. It was founded in 1990 by Emmy-award winning choreographer Mark Howard and led the way for productions like “Riverdance.”
TRINITY
The Company became his focus for preserving the legacy of Irish dance while providing a creative, professional outlet for dancers at the peak of their ability. It was also the first of its kind to transition from competitive dancing to performance art.
“ They were known for their innovative dance techniques influenced by a variety of other dance cultures while still maintaining their Irish roots.�
This magazine is associated with being of a ‘Popular Culture’ class, when referring to consumers.
IRISH DANCE CULTURE MAGAZINE
Irish Dancing & Culture Magazine ( Irish Dancing Magazine) is the world’s leading magazine and website dedicated to Irish Dancing & Culture. focusing on the fashion, fitness, trends and the overall lifestyle of a dancer.
PUBLICATION
The graphic elements displaying a commercialised figure as a focus has a reference of a ‘popular culture’ style. This style of popular culture corresponds with the way Riverdance modernised. I have added this into my research as a contrast between styles, this is a very popular culture style which is not how I want to communicate my work. In contrast with this popular style i have added elements that have signified the Celtic identity, with the way they use the colours as well as the imagery representing Irish Dancing.
Irish Dance Mag Culture “is the world’s leading magazine and website dedicated to Irish Dancing and Culture”. When deconstructing the visuals, it makes a clear link with the conventions of Riverdance. However, stating the purpose of the magazine being of a ‘culture’ magazine, does not make a corresponding link when referring to the traditional background.
Looking at this publication, which highlights how it is Modernising in a more high culture, high fashion way. This style of publication links with references for my layout and style, modernising in a highbrow culture for consumers.
Dancing Times, edited by Jonathan Gray since Clarke’s retirement from the editorship in 2008, continues its original stated policy to maintain the highest standards of criticism and illustration, give voice to leading authorities, encourage high standards of teaching, encourage awareness of dance history and stress the importance of dance in education.
DANCING TIMES
Dancing Times, first published in 1894 as the house magazine of the Cavendish Rooms, London, a ballroom dancing establishment, is the oldest monthly devoted to dancing.
It was bought in 1910 by P J S Richardson and T M Middleton and transformed into a national periodical, covering all forms of dancing, and reporting worldwide. It establishes all different dance forms, looking at the structure and art composition of each movement.
In 2015 the ballroom and social dance magazine, by then given the title Dance Today, was reintegrated into the pages of Dancing Times so that the magazine now covers all aspects of dance.
I kept my photography black and white, to eccentricate the patterns and textures within the photography as a modernised style. “At the same time B&W changes perspectives, it can give mystery to a photo. Since the subject is “hidden” from a glance, it may take more time for the viewer to realize what he’s looking at. Combining this mystery with surrealism is a powerful combination.” The “hidden” sense relates to the interpretation of the cultural identity being hidden. The lack of traditional Irish culture conventions is expressed, when looked further into the image when noticing elements of the garment.
HIGH BROW FASHION STYLE
Such distinctions as lowbrow, highbrow and middlebrow are now mostly useful in identifying their early adopters: a tiny minority of artists and intellectuals who felt a sense of siege as capitalism became global. l. Political defeat, isolation and irrelevance had devastated their old presuppositions about art and its relation to human beings.
It’s normal for audiences to “trade up” when their own tastes become more cultivated and demanding — to put aside tabloids for broadsheets, Louis L’Amour for Larry McMurtry. But producers of highbrow art never quite shake off a need for what’s further down.
“ I take something from the past that has a sort of vitality that has never been exploited – like the crinoline – and get very intense. In the end you do something original because you overlay your own ideas.” (Vivienne Westwood) (Mcdermott,2002)
On the whole, however, the sheer availability of so much art, its ubiquity in the wide, wireless world of the present, assures that more and more blends and mash-ups and integrations are bound to occur. To some extent, people used to settle on a brow for themselves and then pattern their reading and viewing and listening accordingly. Increasingly, art at all levels now comes to us, seizes our attention for a few digital moments before being elbowed aside by something else.
“ Modernism was their last desperate attempt to reimagine modernity, to move beyond bourgeois notions of representation and harmony.”