The History of Type

Critical Positions on Advertising

Karl Marx 1818-1883
Communist manifesto: critical of capitalism - suggested a better way of life

Critique of consumer//commodity culture

• In commodity culture we construct our identities through the consumer products that inhabit our lives
• This is what Stewart Ewen terms 'the commodity self'
• Judith Williamson (Decoding Advertisements) 'Instead of being identified by what they produce, people identify themselves through what they consume' (1991:13)
• Looking individual doesn't mean being individual

Symbolic associations - calvin klein advertisement

Image represents use, group culture, sex appeal & desirability

How does commodity culture perpetuate false needs?

• Aesthetic innovation - essential for the fashion industry//seasonal trends
• Planned obsolescence - products have an 'expiry date' just beyond the guarantee//warranty so we are always needing to update things
• Novelty - newer version of products makes us want to discard the older versions

Commodity Fetishism (term coined by Marx)

Basically advertising conceals the background 'history' of products; the context in which a product is produced is kept hidden (Nike - Adbusters)

Reification

Products are given human associations; perceived as sexy, romantic, cool, sophisticated, fun etc.

Commodity culture manipulates us into thinking one-dimensionally; it stifles us and prevents us living full, meaningful and creative lives.

Watch John Berger - Ways of Seeing

Ways advertising work & make profit:

• Economy
• Subsidising the media quality
• Stereotyping
• It seeks to make people unhappy with existing material possessions
• It potentially manipulates people into buying products that they don't really need//want
• It encourages addictive, obsessive & acquisitive behaviour
• It distorts the language and encourages bad usage & incorrect spelling
• It encourages consumers, especially children to want products and brands that they cannot afford, causing feelings of inadequacy and envy
• It uses images that encourage us to buy products and brands that have the potential to be unhealthy
• It encourages unnecessary production and consumption therefore depleting the world's resources and spoling the environment

Summary

• Karl Marx - Marxist analysis used to critique advertising
• Commodity culture & fetishism
• Reification

Graffit & Street Art

Five books to look at in preparation for Essay

• Focussing on specific examples, describe ways Modernist Art & Design was a response to the forces of modernity.
• Choosing a particular period from 1800 to present, in what ways has art or design responded to the changing social and cultural forces of that period? (2 specific examples)
• Is it possible to describe any aspect of graphic design as post-modern(ist)?
• Could it be argued that fine art ought be assigned more 'value' than more popular forms of Visual Communication?
• 'Advertising doesn't sell things, all advertising does is change the way people think or feel' (Jeremy Bullmore). Evaluate this statement with reference to selected critical theories (past and present).

Barnard, M. (1998) 'Art, Design and Visual Culture: An Introduction' London, Macmillan
(306.23, Visual Culture)

Cummings, N. & Lewandowska, M. (2000) 'The Value of Things' Basel, Birkhauser Verlag
(301.5, Visual Culture)

Findlay, M. (2012) 'The Value of Art: Money, Power, Beauty' New York, Prestel Publishing
(701.1, Art Theory)

Marcus, G. H. (2002) 'What Is Design Today?' New York, Harry N. Abrams Inc. Publishers 
(745.4, Design Theory)

Vanderlans, R. (2004) 'Graphic Design vs. Style, Globalism, Criticism, Science, Authenticity and Humanism' New York, Princeton
(741.601, Graphic Design Theory)

A History of Creative Advertising

Studio Task 2 - Beauty, Style & Taste

6 Images of Type, Type & Image, Image which I like and dislike

Type

Type & Image

Image

Buami Curation

Defining the aesthetic of what I like & dislike

Like

Clean

Simple

Thoughtful

Legible

Clever

Memorable

Structured

Geometric

Distinctive

Powerful

Modernist

Sophisticated

Balanced

Professional

Impressive

Striking

Intricate

Crisp

Intriguing

Different

Dislike

Cheap

Tacky

Generic

Garish

Cluttered

Overpowering

Irrelevant

Pointless

Busy

Messy

Unclear

Illegible

Misplaced

Static

Boring

Unprofessional

Mediocre

Overworked

Chaotic

Underworked

Derivative

We had to choose 3 images from our original six and define them using 5 single words. We then swapped images with someone else and had 5, 10, then 20 seconds to write down words that came to mind when seeing their images for the first time. We had to decide which of the 3 images they liked and which they disliked and then regrouped for a discussion and comparison of the words and opinions we came up with.

Barney's words

My words

The only image we disagreed on was the Groundhog day poster. I can see how it could be perceived as boring or repetitive especially if you don't know the film it is advertising.

Barney's three images

Dislike - tacky, derivative, juvenile, overcrowded, unprofessional

Like - powerful, strong, simple, clear, memorable

Like - original, powerful, distinctive, striking, clever

We then had to as a pair try and come up with 10 aesthetic rules. This was really challenging and we only managed to come up with 8:

1. Don't overcrowd designs
2. Keep colours appropriate to the design - use as few as are needed
3. Make sure all typography is legible
4. Consider the relationship between type & image
5. When using only black and white keep a professional look to the design
6. Ensure the aesthetic & style of the design reflects the tone of voice
7. Consider the concept//message behind the work
8. Work in a media that relates to the content and style of a piece

My three rules which I finalised on for myself:

1. The aesthetic & style should reflect the intended tone of voice
2. Keep colours to a minimum
3. Consider the relationship between type & image

Studio Session 1 - Critical Analysis

Graphic Design I Dislike

Ray Gun magazine design by David Carson

I find Carson's postmodernist design of Ray Gun magazine visually noisy, especially within the typographic style. There is an overbearing use of uppercase & layering which makes the information difficult to see and illegible. The image just adds to this further although is very much in the background, and I just dislike the general layout and use of space (or lack of it).

The Face - designed by Neville Brody

Although in many ways more simplistic Neville Brody's design style is similar to Carson in it's chaotic layout, lack of organisation and I think bad use of type. The use of so many typefaces detracts from the interaction between the text and with the image, which is also overly-edited and lost in the garish background. There is no immediacy to the design and I think this lessens the effectiveness of communication. The digital design is overworked and looks tacky.

Graphic Design I Like

Colors Magazine - Apocalypse Issue #84

The cover of Colors magazine Issue #84 was a screenprinted, fold out A2 cover which has dual functionality. The simplistic, monochrome design fits in well with the very ordered design within the magazine itself, which has a particular emphasis on use of image and catalogue-style photography. There is a humour and wit in the tone of voice & magazine content which is delivered in a really stylistic design.

Bridging the Gap poster by Ross Gunter

I discussed this later on with Andy (please see further on in post)

After the group work of organising each others' chosen pieces into categories of like and dislike we had a discussion on what our judgements of graphic design are based on. The definitive list we came up with from the session was:

• Layout
• Colour
• Context
• Visual content
• Non-visual content
• Function
• Concept
• Composition
• Legibility
• Communication
• Visual Quality

Then we came up with an ordered system for critiquing work:

D           Describe (what can you see?)

I            Interpret (what's it about?)

E           Evaluate (how good is it?)

T           Theorise (how could it be improved?)

Andy & I paired up to critique two of our images in this way.

Kleenex Ad 

Describe

• Advertisement for Kleenex pocket tissues
• Simple image where the dog is textured, made out of a tissue in an origami style
• Explained by the tagline: 'best friend' refers both to the dog and in the context the tissues
• Product placed at the bottom - a physical image, brand logo & specific product name.
• Basic layout of image, tagline & product, with very basic image

Interpret

• Simple typography & image - inoffensive advertising of an unglamorous product
• Although the image is of a man quite gender neutral - 'your' instead of 'man's best friend' and also speaks directly to audience
• Purple neutral background colour & makes the white of the tissue and the product image stand out
• Square format of advert may be reference to the tissue size when folded out
• Eyes drawn diagonally downwards across advert

Evaluate

• Effective in the interaction of image and message - it has a clear, logical & accessible message which is instantly apparent and easy to understand
• Difficult product to advertise but executed with wit and originality in quite a subtle way
• Appeals to both genders
• Simple and flows well because of layout

Theorise

• No obvious improvements to be made - perhaps a little juvenile in its execution and use of colour but for the purpose I think the design style works, and it would be silly to overcomplicate//overwork it.

Bridging the Gap poster

Describe

• Poster for a nightclub in London - a night called 'Bridging the Gap'
• All information displayed: date, time & place, price, event details as well as web links at the bottom
• Use of bold geometric pattern as image; bright colours used but limited to a three colour palette
• Broken into sections of information & image, with the logo at the top, webs at the bottom and title in a larger point size

Interpret

• Simple typography is easily legible and communicate the information well
• Similarly the layout is easy to follow, organised & the breaking up into sections prevents overwhelming the audience
• The reference number at the top of the poster (BTG020) may be a reference to Peter Saville & the Factory Records ordering system
• Swiss-style grid-based design is a formulaic but effective layout

Evaluate

• The colours pop so it grabs your attention but they may be too garish 
• Equally the image is so bold & quite complex that it ends up dominating the poster and takes away from the information. 
• There are a lot of web addresses at the bottom of the poster - perhaps too many which surely no one would note on a poster. It actually ends up trying to include too much info
• Different aesthetic style to most nightclub poster designs, more sophisticated and retro

Theorise

• Colours should perhaps be toned down; similarly image should either be reduced to avoid overcrowding or simplified
• Perhaps remove a couple of the web addresses and strip the poster further down so the information is communicated on a more instant level.

Five Reasons Critical Analysis is useful:

• It helps you to form opinions and learn how to voice them
• You realise what elements make successful pieces of graphic design 
• You learn information about designers, their work, your own work and about the different styles in which people work in
• It can act as inspiration and generate new ideas for your own work
• By evaluating & analysing other people's work especially in a group context you become better at critically analysing your own work

Five Reasons Crits are useful:

• It is good to get an outsider's perspective and a fresh point of view
• They help you organise your work & ideas and give you a mini deadline to work towards
• They make you think about what you are trying to achieve and encourage self-evaluation
• It is useful to see what point others are at within their work and gives you an idea of how much you have done//need to do
• They can give you new ideas and inspiration

What Affects my Judgement of Work:

Layout

I like design with a fairly simple and minimalistic layout, as I think it allows different parts of the design (ie text and image) to interact more effectively and not take away or distract from each other. If every element of a design is placed and organised in an effective layout I think it functions better. I hate overcrowding and think space is important, and can completely change the tone of voice and communication of a piece of design.

Visual Content

For me visual content - either image or use of type as image - is often more important than text and type. Image has to interact correctly with text and message, and I think usually has more of an initial impact when receiving a piece of design. It determines the tone of voice, style, message & function and is therefore entirely intrinsic. I usually like geometric and bold images within design, with a minimal or appropriate use of colour and illustrative but modern style.

Colour

A piece of design could be beautifully laid out, with amazing type & image and a good concept and function - but if the wrong colours are used the tone of voice completely changes. Personally I think the fewer colours within a design the better. Normally I like very subtle colours (although usually none at all and would prefer black and white) - but one of the reasons why the Bridging The Gap series of posters appeal so much to me is because of their brave but I think very effective use of bright colours. They grab the attention of the viewer without becoming garish because of the overall sophistication of the design - if the colours are loud then I think the typography and image used must be more subtle and sensitive to this.

Concept

I think a good concept is sometimes hard to find behind all types of graphic design. For me the best concepts are the ones that you realise after a brief (but not too long) analysing of the design. For example the Kleenex advert has an initial aesthetic impact, but also a secondary on a deeper conceptual level when you realise the different puns and use of product as image within the design. This really appeals to me.

Legibility

I really dislike design which is not easily legible - lack of legibility is the main issue which I have with designers such as David Carson. It makes his work less accessible which I think lessens the immediacy and impact of design. A legible piece of design is clear, and therefore communicates more effectively.

Study Task 4 - Modernism//Postmodernism

a) Why you consider each image to be Modernist / Postmodernist

b) Whether you think that the image is successful or unseccesful

c) relate your analysis to the terminology introduced in the session

d) Use at least one quote from the essay by Massimo Vignelli to back up your analysis

Five Examples of Modernist Graphic Design

Six Architects series of posters by Andrea Gallo

Six Architects is a series of minimalist posters showing the major architects and main principles of modern architecture. Conceived and created by artist Andrea Gallo. This image is minimalist because of the small amount of information presented, the stripped down image which communicates Lloyd Wright's architecture in the simplest way possible, and because of the monochromatic colour scheme. The type used is a thin sans serif and does not dominate the poster at all.

The image is successful because even though the image is so simple it does evoke Lloyd Wright's architecture. Because Lloyd Wright was a modernist architect it makes sense that the tone of the poster is in fitting with his work aesthetic. It is simple, stylish, and communicates effectively.

"The solutions should affect the approach taken, and by virtue of its configuration, stimulate cultural reactions in the viewer, rather than emotional titillations."

Otl Aicher's pictograms for the 1972 Munich Olympic Games

Otl Aicher designed pictograms to represent every sport in the 1972 Olympic Games in a simple series which were as basic and minimal as possible, without text to explain them. They had to communicate to people of all nationalities so make sense on an international scale, and be applicable in different contexts. These are obviously minimalist because of their complete functionality within the design. 

They are successful because they achieve what Aicher set out to - although some may be less immediately obvious than others ultimately they all communicate the different sports, work as a series, and work on an international scale as intended. They also are still completely relevant and effective 40 years later: they have not dated at all and could have been used in London.

"Modernism's inherent notion of timeless values as opposed to transient values still greatly appeals."

Adidas Originals poster by Bibliotheque Design

This poster for a new Adidas Originals store coincided with the Athens Olympic Games. The image was immediately modernist because of it's very stripped down nature. There is no image because it is not essential, and so instead the information needed is displayed in a simple written format in ascending sizes of type. The type itself which is used is sans serif, easily legible and the use of a single colour emphasises this further. The slanted layout breaks up the text and serves to make the poster more visually interesting.

The image is fairly successful - at first it appealed because it instantly communicated what it was advertising. However it is incredibly plain and verges on dull design - which for Adidas doesn't seem representative of the company and its usually fun aesthetic. It could be that an image may have added to the aesthetic quality of it.

Branding for Rossi Long Consulting by Matthew Hancock

This is a complete set of branding for a consulting company based around a single logo which is applicable to many different contexts and surfaces within the company. It is Modernist because the logo itself is incredibly simple and functional, and applicable to many different surfaces. It is quite abstract yet simple in form so would not look out of date in a couple of years, and is functional as a recognisable logo. Because of these reasons the branding is an effective piece of graphic design and is successful in its intended purpose.

Record Sleeve by Rudolph de Harak (c. 1952)

Although this record sleeve is 60 years old it looks entirely modern and could have been designed far more recently, which already establishes it as a successful piece of modernist design. The type used for the title of the record is sans serif and simple, there is no other information and the image used is abstract, geometric and modern. Although the image is not necessarily directly related to the music and record inside it functions as an interesting record sleeve which is intriguing and you would notice in a record store.

"Modernism was never a style, but an attitude."

Five Examples of Postmodernist Graphic Design

"The followers of the Post-modernist fad are gone, reduced to caricatures of the recent past. Post-modernism should be regarded at best as a critical evaluation of the issues of Modernism... the lack of a profound ideology eventually brought Post-modernism to its terminal stage."

'I Wonder' by Marian Bantjes

"I spent 15 months writing, illustrating and designing this book. It’s a gorgeous hardcover, with gold and silver foils on a satin cloth, with gilded page edges. It’s printed in 5 colours throughout (mostly CMYK + Gold) on a coated stock. At a smallish size, it is a book meant for holding and reading, curled up in your favourite chair. Every single illustration is new, created for the book, and the content is not about my work (i.e. not a monograph), but instead combines graphic art with the written word, and lends my own contemplative but frequently amused voice to my observations of the world."

This book is postmodernist because of its over the top ornate decoration, shown within the typography and image. It is a book more for aesthetic value than for function and has no obvious message to communicate other than acting as a beautiful object.

Although quite specific in its aesthetic which may not appeal to everyone it should still be considered a successful piece of design. It is made with a lot of consideration and has a feel of value to it. It is also obviously reflective of the ideas which Bantjes wanted to convey.

Shortcuts #2 poster by Sudpol

This poster could be considered modernist because of the busyness of the design and excess of unnecessary information - some of the typography around the image is for a decorative purpose and does not actually have anything to do with the poster. Although a limited colour pallette has been used and there is only a single image it is still quite visually noisy and has a post-modernist feel to it.

As an image it is quite successful, although the important information does get a bit lost in the general decorative typography - it is not entirely clear what it is trying to communicate. The poster does not work on an immediate level which is usually an important function of posters.

Poster by Wolfgang Weingart

This poster is postmodernist because of it's composition - the collage style of several images which seem to have been thrown together on the poster without any intended function. The typography is quite simple for a postmodernist design and also surprisingly legible which improves it as a design - the haphazardness of the background image needs simple typography over the top.

Your Turn//My Turn poster by April Greiman

The colours used in this poster by Greiman are deliberately clashing with each other in the different interacting sections. The overlapping of shapes adds to the chaos and visual noise of the aesthetic. There are at least two different typefaces used, and although some of the text has been broken up into sections it is placed sporadically across the design. Although the aesthetic of this poster is quite successful - the main typeface used and the geometry appeals - it is hard to follow as a design and has a lack of ease and legibility to it.

Hybrid Typography by Killamall

This typographic poster by Jehwan Jeon is part of a series of experimental typographic posters. It has no clear function and does not even display the type in a legible way. The image is cut up and disjointed, the layout and composition has a random feel to it and the aesthetic is busy and seems dated and tacky even though it is a fairly recent design. It could be considered an unsuccessful piece of design because you cannot get any clear function from it, nor is it communicating anything. This could be made up for within its visual quality but the image in general is not very strong.