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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

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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

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avisforside, 2011

politiken / Newspaper frontpage and inside page, 2011

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19 20 21 22 23 24

1

2

3

avisside, 2011

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5

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9

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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

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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

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text - typography as image

harpers bazaar / Page layout, 1930-s

neville brody - Oceans Twelve poster, 2004

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text - decorative typography

Guimar達es JAZZ 2009 / Typography, Illustration, Poster Design, by Atelier Martino&Jana

Stefan sagmeister/ Poster Design to AIGA & Cranbrook, 1999

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text - legibility

Kelmscott Press / The Nature of Gothic by John Ruskin, ca.1890

ink surgeon / On David Carson

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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

23/45


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

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color - association and effect

The three colours triology / Krysztof Kieslowski 1993-94

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color - light/dark & warm/cold

Amsterdam Sinfonietta / Poster exhibition in Shanghai 2010. By Studio Dumbar

Harry Potter and the Deathly Hallows / Poster 2010

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color - saturation

Hairspray / Poster, 2007

Zero Decibels / The Quest for Absolute Silence, 2010

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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

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image - decorative

Magazine spread / Machel Breakfield

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image - emotional

â&#x20AC;&#x153;hus forbiâ&#x20AC;? / Advertisement, 2011

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image - communicative

adidas / Leagas Delaney, 1999-2000

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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

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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

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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

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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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Graphical Design