Completion of Mapping Project

Today I finished designing the DIY map for people visiting Hereford College of Arts. The concept comprises a map of all floors of the building with symbols that can be cut out and applied to provide directions to young children, other language speakers or anyone with reading difficulties. The map could be assembled and then sent by smart phone to the recipient.

findit-map

pdf-iconClick here to download a pdf version of the map

Contexts and graphic design

We were asked to find three examples of graphic design in the library and then describe each one in as many contexts possible.

In May 2016 the co-op unveiled a new logo which was designed by studio North. This was a revival of the original classic clover-leaf design, Which first appeared in the late 1960s. And historical context was considered after researching the company’s visual history. The logo conveys trust, nature, and purity. One of the aims was to trigger nostalgic response from customers. Whilst it also suggests a modern brand of the future in the digital age.

north_coop_008_fascia-crsite

The contexts in this example are historic, nostalgic, behavioural, social, commercial and loyalty.

My next choice was Tyrrell’s crisps. Their design was created by the company bigfish http://www.bigfish.co.uk. Similar to the co-op nostalgia is used to appeal to customers.

The photographic images are typical of the postwar period and the use of matt packaging material adds to the historic effect. At this time food was wholesome and shoppers were thrifty and so the brand conveys value for money with t a product that is made to traditional standards. There is also an element of humour which will appeal to young and old alike.

The choice of packaging, it’s thickness, feel and the strong colours plus the typeface all reinforce the historic/quality message.

Like the co-op, The contexts used are nostalgic, historic, behavioural and quality.

Because I am a fly fisherman I am inclined to buy gear that is technical, has a high performance, innovative and hardwearing. For these reasons, like many of my fishing colleagues, I am drawn towards Sage, a USA company, that produces the gear that satisfies my requirements.

sage

The main context in this companies advertising is technological but there is also an element of fashion, comfort and certainly protection against the elements. http://www.sageflyfish.com. You can also throw in nature and the great outdoors for good measure.

You could say that all three examples address a behavioural context  as well and in these cases I am one of the typical target customers!

In the sage website photos of  big landscapes with solitary, small figures give the feeling of adventure, whilst the choice of lettering and a few select words convey technology and innovation.

Contexts used include the spirit of adventure, technological, emotional, fashion, high quality and exclusiveness.

3rd Alphabet

This is my third submission for the alphabet project. I was looking for something that would resonate with my fellow students and because they are always using their smartphones, this seemed to be an obvious choice. The alphabet comprises app logos some of them familiar and some of them a little obscure. I chose the iPhone 6 format because this is the phone that I use.

applebet

Assignment 1.1

First draft of my assignment for feedback…..

John Symonds GMD4                                                                                   October 2016

 Critically discuss in terms of context, key developments in visual communication between 1915 and 1940.

By 1915 World War I had started and many new technologies were emerging, including electricity and methods of transport by land, air and sea.

During the latter half of the 19th century, across Europe, various left wing organisations were campaigning against the many autocratic right-wing establishments that were then in power. This resulted in the forming of the International and the Russian Civil War, a general revolutionary upheaval after the October Revolution, which resulted in the formation of the first Communist parties across the world and socialism [1].

In the history of graphic design, posters of World War I are usually acknowledged for introducing new, heightened level of psychological persuasion. The colour lithographic poster had been perfected in years up to 1914, and before cinema or radio could supersede them, posters were the major form of mass visual propaganda. Wall posters drew from the visual traditions of their respective countries and consequently indicated strong national styles. But, because they needed to address share concerns of public morale and war effort, many also indicate common techniques of visual persuasion.[4}

This is then was the background to several new movements concerned with graphics and other connected arts. We will use a collective term avant-garde.

The term avant-garde in French means front guard. This is often used in French and English to refer to people all works that are experimental or novel, particularly with respect to art, culture and politics. According to its advocates, The avante-garde pushes the boundaries of what is accepted as the norm willing definitions of arts, culture and reality. [2]

Avant-garde movements of the early 20th century specifically focused on visual communication design and implemented it as a modus operandi and were greatly influenced by the events of the time. [2]

For instance constructivism was mainly interested in the promotion of socialism and the spirituality of mankind. Futurism had a loathing of past ideas, especially political and artistic traditions and had a love of speed, technology and violence. Dadaism had an anti-war politic, concerned itself with anti-art and strove to have no meaning, was anarchic and irrational. Bauhaus had no teaching of history and was concerned with the unification of art, craft and technology. [2]

The Italian millionaire poet, writer and originator of Futurism, Filippo Tommaso Marinetti, founded the international magazine Poesia (Poetry) in 1905. Marinetti was on a personal crusade to liberate poetry and literature from the constraints of traditional punctuation and syntax. [3]. This heralded a typographic revolution.

Typography was all about communicating with the masses through signs, posters, newspapers, periodicals and advertisements. The avant-garde movements played with typefaces and made them larger and more compelling. They also made them more abstract and added photography to create montages.

My information graphic is an attempt to encapsulate the major avant-garde movements together with their ideologies, disciplines and advocates. It also shows later groups who were influenced by them.

I have tried to use the style of the time, with a minimum amount of colour, which in any case would only serve make the graphic more confusing, whilst in the form presented it is clear and easy to follow, in my opinion.

[1] https://en.wikipedia.org/wiki/History_of_communism

[2] http://www.citrinitas.com/history_of_viscom/avantgarde.html

[3] www.citrinitas.com/history_of_viscom/…/the-futurist-typographic-revolution.doc

[4} A century of Graphic Design – Jeremy Aynsley (Octopus Publishing Group)

key-developments-in-visual-communication

pdf-iconClick here to see my mind map for this project