This is my final zine and the edge was ragged from cutting therefore I used a scalpel to cut off the ragged edge – but then I found that I cut too much off and it was too close to the text. From my mistake, I have learnt to cut at small increments. I’ve yet to assemble my alternative zine but good things is that mistakes are to be learnt from.
This morning I used the laser cutter, I discovered my file that was about to laser cut was not the same dimension of the physical paper print – however lucky Ella checked it before the laser cut happen. In addition, I changed the fish charm to plastic as it will be more durable that card.
What I learnt today:
- check the print size with the laser cutter dimensions
- wash hands and be careful of ash fingerprints from laser cut
I was assembling my zine and I stopped to flick through it, but then I realised I had blood on it – I looked at my fingers and I got a cut from the scalpel without noticing. I have learnt to be careful with scalpels and that I am going to by a safety ruler because a couple of days ago I cut part of my finger nail off. Also I need to take precaution with grease/ oil fingerprints.
This means I have to spend more money and effort printing – so much money I have spent printing.
To make the text visually interesting and to make it look more personal to the reader, I am making to into visual representations of the word, almost like the project of one word poster where the visual represents the word. This is for my alternative zine which is handwritten which makes it look more raw.
I cut the pages and folded the pages together to discover as there are many pages, it makes the zine chunky and makes the inner pages stick out. Therefore I need to consider the detail/ text near the edge of the page.
I found that when double sided printing, it makes one side about 1mm/ 2mm out, so when I align the two pages it makes the bottom of the page shorter than the other. Therefore I will need to review my work and see if there are any text/ major images that spread across two pages and ensure that there is a minor gap/ minor leading between so that the alignment of pages wouldn’t matter as much.
Also I notices that on the right of the zine, as there are many pages it is thicker, therefore I will need to make the door cover on the right slightly longer as in the photo below, the right door needs to be closer to the backpack
- “remove ‘top bakeries in London’ page and add title to the backpack page”
- “spread the text evenly, left ad right on backpack page”
- “remove ‘The Event’ on the door cover”
- “text is to tight to image on bakery page, widen textbox”
- “careful of text in the centre of text being lost or mismatched”
Alternative zine version:
- “make sure you cut the distance cutout accurately”
- “check that text is not lost between pages, break text up or space it differently”
- “‘along Wardour Street’ text has been cut, position somewhere else”
Response of feedback: I’ve got to check my printed pages for any printing issues as this is my last draft. This is my final draft to show to the tutors so over the weekend I will make the minor tweeks.
- live in Manhattan since 1971
- Dad was a fisherman
- enojyed making models
- worked in factories 7 days a week 12 hours a night
- studied industrial design at PRATT
- their picked to wor at General Motors doing graphics: packaging for Delco products
- learnt about mapping in the military
- graphics in 3D applications with signs, industrial design background in use
- Peter Murdoch – met at Royal College London, studied furniture design
- Chrysler Pavilion and Mexican Pavillion architect worked as Lance’s office (Nelson’s 1966)
- had to work with 5 rings – be able to interpreted to different languages: Spanish, French, English
- geometry expand to make 68
- Mexican culture, Mexican folk art
- Olympic design printed on clothes with the stripes, recognisable
- Mexico floorplan, like a maze room: logo looking down with striped walls
- Mexican glyphs inspired sporting icons
- ongoing visual shapes on the stamp which make it look kinetic which is what the Olympics is about
- silhoutte on the stamps (Apple iPod silhoutte resembles)
- no name for sport, just symbols/ signs
- paper structure for signs based on tower (totems) in Tula
- 29/ 30 years old working on the Olympics project
- student uprising in Mexico created alternative negative connotations of Lance’s work e.g. riot images using the same style
- La Greca Del 68
- Mexican metro
- Mexican World Cup – Pico bird
- walking distance circles showing time it takes (as used in present time maps)
- Washinton map – tried to make it bold and keep icons
- redesign at the moment with new Dallas airport line (silver line)
- National Washington zoo – created icons and tracks
- 1968 Olympics icons looks like Apple iPhone apps
- “learning to use icons again”
- Santa Fe – north, east, south, west sign
- Korea Arts Centre
- “take the obvious and transform it”
Response to lecture: I’ve seen Lance’s work in the gallery at NUCA and I particularly like the versatility of the Olympic identity where the black and white stripes are instantly recognisable and can be applied onto clothing. I like how the pattern incorporates the Olympic rings and how geometrical it is, simple yet effective. By tying the year of the Olympics with the Olympic rins makes it a strong identity. His work mainly consists of icons and signs, it was good that he had knowledge of industrial design (he studied at PRATT) so that he can make his deisngs into real life. This also shows that what I learn in first year/ or what I generally learn at NUCA will hopefully help me in the future.
In my honest opinion, even though I respect him a huge amount with the incredible work he has created, some work is not to my taste. I think that some of his work are quite repetitive with the icons, it’s really cool that he created/ established icons in the design world but as it is very overused in the present time – I don’t think his work can compete with other people that have entered/ developed the industry of icon design. Some of his icons I think aren’t revolutionary and that any designer can create these days as they are very common. In addition, my view of the Washington Metro map is that it is too cluttered with information, I find it difficult to read – though I do appreciate he tries to incorporate icons to make stations recognisable – but I think that maybe that stations are grouped too close together or that stations names are positioned too close where they are and that station names are positioned at different angles making the reader having to turn their heads to understand.
I like how his work has influenced others such as Apple’s designs with the iPod adverts and iPhone app shapes, either it’s a coincidence that the designs are similar or that they have taken inspiration from Lance. Even the colours used on the iPod ads are the same colours as Lance’s Mexico stamps. I find it incredible how Lance’s history has been in that he has travelled many places, met different people, created works for very famous clients – this inspires me to work hard because it shows that you shouldn’t judge a book by it’s cover in that if I were to see Lance in public I would have thought he was an ordinary man, but he is an extroadinary man with an incredible past and experience.
- “make some of the type bigger”
- “move some things on the Camden page”
- “you’re double informing on some pages where the images says it/ self explanatory so don’t need description/ annotation”
- “if you want a consistent layout, maybe try having the same layout for the bakeries you visit”
- “contrast you’re calm street images against the Oxford Street double page spread”
Response from feedback: That’s a real good idea to constrat the image of my street with busy London, Gareth suggested putting in an image but said I should think about it creatively – I think I’m going to do a fold out page of the street image printed on acetate or tracing paper. That is why critiques are helpful.
“In 2007, Anthony Cahalan published his study of font popularity (or otherwise) as part of Mark Batty’s Typographic Papers Series (Volume 1). He had sent an online questionnaire to more than a hundred designers, and asked them to identify: A) the fonts they used most B) the ones they believed were most highly visible C) the ones they liked least.
- Times New Roman (19)
- Helvetica/Helvetica Neue (18)
- Brush Script (13)
- Courier (8)
- Souvenir (6)
- Grunge Fonts (generic) (5)
- Avant Garde
- Gill Sans (4)
- Comic Sans (3)
The Least Favorite survey contained brief explanations. Twenty-three respondents said the fonts were misused or overused; 18 believed they were ugly; others found them to be boring, dated, impractical or clichéd; 13 expressed either dislike or blind hatred.”
I think with the dislike of fonts, it is because that they have become overused/ default fonts such as Times New Roman default on Windows computers and Helvetica being overused on branding. There are thousands of fonts out there yet there are only a couple that are constantly used because they seem to apply/ categorised into certain moods/ situations/ places. Interesting how Helvetica is on the least favourite list yet there are so many lovers of the font but I think people have come to realised that design has become humogenous and needs a change. Crazy how Comic Sans, which is a very controversial font and mostly hate by designers is at the bottom of the list below Helvetica regarded as perfect. I used to hate Comic Sans when I was younger but now I like it due to it in inflicting emotion and that most people avoid the font and not use it making it special in it’s own right compared to other fonts making the whole design world boring as they are plastered everywhere.
- “You need to use grids”
- “Need to annotate some images”
- “Some pages have too many images going on”
Response to feedback: I think to some extent grids help but in my opinion I think grids make the magazine boring in that each page has to be the same – therefore I will feature some pages to have the same layout to show that I have thought about some consistency. Also zines were created in the 1930’s to share people’s interest and were not finished professionally, I want my zine to have personality so I think that by making each page the same would lose the interest of it. Yeah I thought that the Princi spread had too many images, I’m going to select and remove some.
Todd, M. and Watson, E. (2006) Whatcha mean, what’s a zine? : the art of making zines and minicomics. Boston, Mass.: Graphia.
Review of book: This book I thought was cute filled with illustration basing in the history and concept of zines being handmade and small distribution scales. I thought some of the pages had too much illustration in that it was too busy and distracting to extract information/ read. It broke done the concept of zine into history, zine bindings and some examples of works with some interviews with zine designers/ artists too. I think that the book it a good read for brief information about zines and good to get a picture of the industry because they have interviews with small zine designers. The graphics and handwritten notes gives the book an endearing touch.
There are tips in how to write articles for zines, how to get inspiration for image, how to write interviews, how to construct zines, how to print/ screenprint, different effects achieved with the photocopier.
One the layout/ bindings that I found interesting was a poster fold out, where the cover is a poster and it is wrapped around the zine which can be used as a bookmark too. I don’t think it’s suitable for my zine but I think it would be good for a zine about bands or some kind of character so I’ll keep this binding/ layout in mind for the future.
Zappaterra, Y. (2007) Editorial design. London: Laurence King.
Review of book: I liked the cover of the book with it’s paper envelope texture and this matched the contents where each chapter was based on a different editorial company. Each chapter was divided with a picture of the envelope from the editorial company sent to the person who wrote the book. I think that this was playful because it shows the individuality of the different editorial company and that even envelopes has a sense of structure/ font/ layouts and that it packages the company (in literal and sub- meaning too). The book consisted of no writing apart from contact details of the different comapnies. It was lovely to view the different works of the greatest editorials in Britain and good to give me inspiration on different formats and layouts.
The featured work from Hat- Trick who I like and they lectured earlier in the year too. They showed their “Three” work and highlighted I’ve got to look at details because even small details such as ribbon bookmarks where they have three of them going with the theme of three.
Emeyele (2008) Great British editorial. Barcelona: Index.
Review of book: The book went through everything in the magazine industry from the marketing to the structure within a publishing house to the history of magazines. I’ve always wondered the different job roles/ responsibilities e.g. editor, designers etc. The book was very broad so it didn’t have in depth information about certain aspects of design which I wanted. I wanted to find different interactive elements throughout the history of magazine or some example of good layouts. It broke down the anatomy of a magazine with about a paragraph of information, good book to summarise the industry and to get a feeling for the project but not a good book for inspiration or work development.
Foges, C. (1999) Magazine design. Crans-pres-celigny: Rotovision.
Review of book: This book broke down the anatomy of a magazine from biding to cover lines to binding. The book was good that it featured work that was different/ revolutionary, I especially liked the page that showed the application of different materials that made the magazine Dazed interactive. “Dazed & confused, Issue: Aug 1997. In this issue, cover mode Helena Christiansen’s modesty was preserved by the application of a metallic coating. Half of the readers who bought the magazine and scratched off the panel got lucky, and saw Christiansen unclothed. The others were disappointed to find her censored by two black stars under the panel.”
I love the interactivity and it makes the magazine fun and exciting too, making it a collectors item in the future because people either got the lucky unclothed one and some may have kept the metallic coating to preserve the issue. The book highlighted fine detail of magazines in how some magazines have there barcodes and the spine of magazines. Wallpaper magazine features the main articles that feature in their magazine which I noticed when reading them in the library and that it is helpful when searching for issues relating to my topic.
- Looking really good
- A lot of work has gone into this
- Some spreads are working better than others
- I like how it is different in the opening flap of the zine
- Add more drawings and look into Andy Warhol’s cake drawings
Review of feedback: Yeah I agree that some spreads are working better than others and I’m currently stuck on the China Town spread but I will push myself to work otherwise I’ll fall behind – I’m going to look into more books for inspiration. I just initially sketched some drawings in the zine mock of where my drawings are going to be. They drawings will be in watercolour as cakes looks good in watercolour as it shows it delicate side. Andy Warhol:
I looked into Andy Warhol’s drawing of cakes and I like how it combined watercolours with the use of pen drawings. One of my drawings (drawing of Primark) already combines both watercolour and pen. Rob showed an example of a past third years work in that there magazine was interactive where there was folding sections and diet cuts. I think that for my China Town spread which i personally find is the weakest, is going to have a tear up sections but in an artistic direction.
Is adversiting good for your health?
- was founded in 1976 to collect and preserve the UK’s advertising heritage and to make it available to all for study and research
- HAT became an educational charity in 1978
- HAT’s collections embrace al forms of brand communications in both old and new media including marketing
- provides stories behind famous brands
- contributing to new media – updating Heinz Facebook timeline with their achived history
- adveristing industry today worth 19 bilion
- 1927 Ashley Havendon, simple graphic, invented ENO’s typeface
- common to British advertisement is humour> Victory V ad
- Frank Lowe created a cigarette ad of pyramids – nothing to do with product. Great photography but hid the logo of Bensons
- Silk Cut cigarettes with scissors printed on silk
- Silk Cut, pruple shoulder curtain, Pschyo
- have to by law to put how harmful cigarettes are
- John Gilroy, created famous Guiness ads
- Ostrich – (glass should be upside down) glass looking instead of weight
- Heineken had a version of Gilroy, “refreshers the part..”
- Smirnoff – took mundane people that had their lives transformmed
- HAT has complete GSK informaiton from 1920
- series of Benetton ads – tongue, baby
- Greenpeace furcoat draging – “dumb animals”
- “your talk may kill you comrades, powerful graphics
Response to lecture: I’ve never been taught about the history of adverts and to see some of the most iconic pieces was an eye opener. I didn’t really know how good/ impact of cigarette adverts were in the past and it seems like that Silk Cut was on the ball with their adverts in being simple and iconic with the play on words and the colour association of purple. I had heard that Guiness adverts were very popular in the past but had not seen examples, they seem to have the same style of posters in the World War 2 era in that they were hand painted with text positioned across the top. I wasn’t aware this institution exisiting and I will try to visit the place when I have the time, the address is: 12 Raveningham Centre, Raveningham, Norwich NR14 6NU
PIE books (2007) The 10 influential creators for magazine design. Tokyo; Enfield: P.I.E.; Publishers Group UK [distributor].
Review of book: Ray Gun did appear in this book and I do agree that his work is influential as it was very different in the time period it was published. The book contained mini biographies of the magazine creators and was nice to read about there life but I thought there could be information about how there work was revolutionary and their inspiration for there magazine, also what was the impact on the time period. Surprisingly there was a lot of Japanese creators that was influential, I wasn’t aware how big the magazine industry is in Japan. Below features the pages about Work In Progress (Self Service) – Ezra Petronio, for me I don’t find there pages amazing because there are so many magazines these days and some appear like that too. But I understand that work is different depending on the time period and on the audience. Most of the magazines featured in the book are glossy magazines which I thought was a shame because I wanted a sense of rawness and how they developed to become one of the 10 influential creators.
Jencks, C. (1989) What is post-modernism?. London: Academy Editions.
Review of book: I read the entire book and when I turned each page, I was hoping that the next page would make more sense. This is one of the worst books I have read in my life, maybe because the title was misleading in that it would give one simple definition or that it would then in go in depth but it didn’t and it had a lot of complex words in that people would not understand unless they understood the complex words/ terms. This book made me very frustrated and that it kept going off in a tangent in talking about other things.
Losowsky, A. (2007) We love magazines. Luxembourg: Editions Mike Koedinger.
Review of book: I was hoping to get inspiration for layouts and grids with this book in that it would have large images of magazine spreads. But instead it had textual information. Nice that it gave a history of the different magazine and the history of various magazines from different genres. I like the pages of “Great moments” where it highlighted key issues, in particular I liked the page about Big Issue and how magazines have different interests of being able to help homeless people and methods of distribution. It reminded me of how magazine doesn’t just serve one purpose in looking nice and providing information.
I don’t think this book was helpful visually for me to get information and the text in the book at times was too faint and didn’t go in depth or went off on a tangent in talking about something else.
Ray Gun (1997) Ray Gun : out of control. London: Booth-clibborn.
Review of book: This book is both for my zine and my contextual studies. Personally I don’t like the style of postmodernism and Ray Gun but it’s good to try different things and see what’s out there. I find that Ray Gun’s work is really messy and lazy graphic design but I know that is the effect they want to achieve and that things are positioned for a purpose so it is not lazy.
It took a lot of time to read the book as text was scattered everywhere on a page and there was lines across text and sometimes text was hidden behind images etc. It did get frustrating and annoying because it made me have to think what I was reading as it didn’t make sense. I don’t want to go down the route of my zine in this style as I just find it confusing.
I understand of what postmodernism is more like and that it is very strange even in the present time so it must have been extremely revolutionary in the 1990’s.
Hyland, A. and Bell, R. (2010) The picture book : contemporary illustration. London: Laurence King.
Review of book: I looked at this book to get inspiration for artwork or style for my zine. It contained styles of illustration but to be honest, I thought that the styles were pretty similar and I thought there could have been more variety. The most popular style/ appeared the most was the simple pen sketch one which is also currently trending in the design industry presently. There wasn’t any style that particularly grabbed me or a style of illustration which I wanted my zine to look like.
But I liked Gina Triplett’s work, I like the rough sketchy style in contrast to the rough painted colour. A combination of different drawing styles in that the dog in the bottom right it coloured in more real life looking whilst the other dogs are more abstract. There colours work really well together as they are similar shade of blue, yellow and green which compliment each other. There is a strong use of blue (potentially making it look dull) but with the large patches of yellow, it balances it out.
Heller, S. and Pettit, E. (2000) Graphic design time line : a century of design milestones. New York; [Garsington: Allworth Press; Windsor] [distributor].
Review of book: Each double page spread was a year and it gave brief chunks of information about different subjects in the year of the design industry. An example would be if something was invented or a designer died or was born. It was a good read to get a brief design history and I thought it would help me with my contextuals in looking into postmodernism but as it was so brief it didn’t help me in that retrospect. It did help me to get a sense of how the design industry developed and how the past effected the present.
Sold on a website that sells handpicked zines, this is a series called “Answers on a Postcard ” by “Girl Industries”. The series uses a simple black and white photocopy printed on coloured paper for variation. This shows that zines do not have to have a high quality and that it is made from interest and passion of the topic.
I’m worried that the zine I’m going to created will look unprofessional and ugly but I have learnt with the zine culture, it’s about the designers interest for the subject to share with the world.
Shape & Situate: Posters Of Inspirational European Women. Issue 3 (2012)
This zine appears to be completely handmade with handmade type where the designer has chosen to handwrite the text rather than using existing fonts. Content on the pages appears to be positioned around the image and that there are no colours used apart from the front page where is it printed on colour paper. The front page f the zine look like it has been handrawn using biro pens created a screen printed appearance.
Very simplistic in that it look amateur – the piece looks like the text has been printed off the computer with italic Arial Black font and then the image is drawn in the centre. But zines make unpolished booklets/ magazines acceptable because it is a personal response to a topic.
I think this is a fold out zine but it follows the style of 1970/ 1980’s zines where there was a high use of photocopiers, cutting and sticking colleges. The images are positioned at the top of the page to draw attention whilst there is handwritten text to accompany the images.
Whilst sitting on the tube train, I saw a Eurostar ad and only then I noticed the design of the logo. The logo is featured in the bottom right corner and I thought to myself “ohhh that’s clever!”. By extending the cross bar of the e, the rest of the e becomes a tube/ tunnel which symbolises the business in that it is a tunnel between England and France. The cross bar has a swirl stroke which can show the flow of traffic and can symbolise the ease of use because the connotations of flow is that everything is smooth. happens consecutively and goes well. The text “Eurostar” accompanys the logo so that people who are not familiar with the visual logo know what the ad is about. It is positioned below the cross bar and fits snuggly there otherwise the visual logo would look off balance as the cross bar is longer on the right side.
I found it strange to feature a women in the ad but maybe the designer wanted to feature an emotional trigger in that Amsterdam is expressed to be happy as the women is smiling.
The real Saatchis – master of illusion, Channel 4 (broadcasted on 10/07/99)
The real Saatchis – masters of illusion (1999) [DVD]. Channel 4.
- 1968 – year of rebellion
- – Charles Saatchi planned his career
- – already renowned copyriter – famous of the pregnant man advert
- – ready to challenge the order
- Dramatic visuals, tough message
- Cigarettes with tar
- Had Health Education account
- Joined younger brother Morris later
- Jewish, they saw themselves as outsiders
- Charles was streetsmart whilst Morris had qualifications
- 1960’s adverts were safe cosy family looking
- Spotted “Campaign” newspaper to get themselves noticed
- Saatchi would wine and dine “Campaign” journalists
- Taken over by Garland Compton
- Lost Health Education account
- – Then took Silk Cut as a client (opposite to what they was working for before)
- Conservatives as a client
- – they didn’t have money to pay and would become bankrupt therefore future industrialists clients would not book if Conservatives did not win the election
- They thought that it’s not about being the best but the biggest
- – kept buying businesses
- They didn’t understand the businesses they bought > no management
McCandless, D. (2009) Information is beautiful. London: Collins.
Review of book: I really like this book and contemplating in owning this book too, each page is truly beautiful. Maybe because I like David McCandless’ style in being clean and simple. I thought that with his different infographics he had produces he would make each one a different style with different fonts etc but no, he kept the same font throughout the book and the same simplistic style. He uses a round sans serif font with white lines alot with white/ black text.
He has used one double page to express 100% dividing the segments depending on the amount for each category, this shows a use of volume and representing values in size instead of line graphs and bar graphs where it is expressed in height.
Following/ being the trend of using circles, McCandless has divided the circle into segments which are labelled with numbers which are then reffered to the legend at the bottom of the page. Visually a nice looking piece where it can be a pattern and by making information look aesthetically pleasing it would make people look.
Shaped like the alcoholic drink, it makes the infographic look more appealing and more recognisable. I assume that the infographic is accurate to the volume quantities of the different drinks mixed. Another example of showing things in volumes instead of figures/ numbers. As shown here, there is the same use of font and the use of black and white, the two infographics above use white/ black text and clearly show that they are by the same designer.
I was sitting on a train back to my hometown in the evening and I was staring at this poster. I had an epiphany moment in realising how important the use of grids are. After speaking to Gill she said to me that even though you might not realise that grids are there, it makes things easier to read and how points can follow from each other.
It hit me that the main text in the centre is aligned to the left of the text logo and the vertical divider line is on the same alignment too. I am definately going to try and improve by usign grids because I use to think grids were a waste of time and than it makes designs more confined.
Review of feedback: I wasn’t sure about the lines (colour, line stroke) but I’m glad Rob and Gill gave me feedback on that aspect so that I can act on it.
Gill explained to me that gridding is important and even with things that you look at and don’t notice, there’s just something about it that makes you think that it looks comfortable. I used to always just centrally align things all the time but now I will be more aware how to grid objects on a page.
I stumbled across this book in the library on the shelves whilst browsing, the entire book is about dogs (photos of dogs) and the book is title “Dogs”.
This is one of the double page spreads in the book and this is a really good use of juxtaposition, where two images are placed next to each other and has good effect/ good meaning. On the left there is a photo of a sign saying “No dogs” and on the right, an image of a dog pooing is giving the overall image saying that is rubbish and the sign is not respected.
This makes me think that I need to consider how I will lay out my pages in my zine and the material I select to go on each page.
- Newspaper Club
- Data dec: taking people’s personal data and turning them into stuff
- Computer vision
Response to lecture: In harsh honesty, I thought this lecture was dissapointing and irrelevant. I did not understand to what his objective of his lecture was as it had no direction and that he said that there was no hope for graphic design. I didn’t really understand who the lecturer was in the aspect of what he did but from research it is shown that he founded the Newspaper Club. I thought he could have expanded on how he founded of the Newspaper Club and lead us to inspiration but he just kept talking about making little gadgets that I didn’t think was relevant because he didn’t actually explain how it works/ how it’s made.
Review of feedback: Personally I wanted to keep the other fish as printed so that people could see the contrast of how much we depend on the three main fishes (tuna, salmon and cod) but to a certain extent by having the other fish as lasered would make it consistent.
I agree that the bottom text looks scatty because I was trying to fill space so I will realign them to neaten the poster.
- BBC Newsnight – Infographics
- Stephanie Posavec
- Trends in politicians and news media use them
- Neville Brody vs David McCandless
- “Most popular infographics”:
- Presenting facts at a glance
- How do we create effective infographics?
- – tell a story
- – start with one dominant visual
- – highlight salient stats
- – don’t be overwhelmed by your data
- – display proportion and scale
- – waitingforsuperman.com > American Vimeo video
Response to lecture: I like the different examples that Darren showed us, in particular the infograph about infograph trends which I found entertaining/ funny because it highlights trending/ mainstream styles and it slightly mocks infographs that some are unoriginal. The waitingforsuperman video was particularly good because it links one info visual to another using shape transitions and I will need to consider this when creating my animated infograph which I am creating ontop of my A2 piece and booklet.
Klanten, R. (2010) Data flow 2 : visualising information in graphic design. Berlin: Gestalten.
Review of book: This is the second book of the dataflow series, it features the same layout where the infographics are categorised. There were the same categories and in addition to these:
Dataprocess: Represent workflows, shed light on complex processes, demonstrate functions, depict sequences.
Datacurves: The overall economic climate, the downward -pointing curve has become an almost iconic symbol.
Dataesthetic: Primarily goal of these visualisation is not to inform, where data is a means to express personal feelings and to create works that reach out to our senses and emotions.
“Jason Freeny – Micro schematic, Anatomie gummi bar, Pneumatic anatomica
Jason Freeny’s anatomical sketches strips the virtual flesh of tasty snacks, childhood friends and kiddies cuties for an in-depth look at the leisure industry.”
This infographic was under the dataprocess category, the infographic has a comedic value because it shows the anatomy of a legoman, gummy bear and a balloon dog. It’s in the style of a human body diagram and has a clear layout with a lot of empty space.
“Nadeem Haidary – In-formed
What’s on your plate? A starter dish for Africa, a full meal for Europe: in caloric consumption, the representated date – calories per capita around the world – is visualised by the length of each prong and the size of each plate.”
I like how a two dimensiona representation has turned into a three dimensional model in a fork. I think this would be an obvious idea if I had the topic of consumption, though it’s nicely done with the clean sans serif font making the fork look dynamic and simple.
Review of feedback: I really like the idea of using the laser cutter to cut silhoutte of the fishes but dissapointed that I’ll lose the graphic of the fishes (because I thought they were graphically strong and so did Rob, plus I spent ages creating them), I think I’ll create two version, one with graphics and the other laser cut.
Yeah the idea of a school of fish is strong as it was mentioned by Simon, Rob and Gill so I will definately take this forward. I like the idea of the laser cutter because it represents the fish being consumed too and that it is now gone (relating to overfishing as well).
Also by having a school of fish, it’s a different representation of the classic pie chart, instead of a circle representing 100%, I’m going to have 100 fish.
Klanten, R. (2008) Data flow: visualising information in graphic design. Berlin: Gestalten Verlag.
“Datasphere: The circle is the first, perfect shape. The equistant arranged of the outer points from the centre, defining and ideal, are impossible to acheive by human hand. The space speaks of potential – the tension between what is achieved and what could be achieved. From the circle, we derive ideals and focus, both the halo of saints and the cross- haired targets in gun sights.
Datanets: When individual data points develop tension and connection with each other, the resulting structure becomes an entitiy in its own right – the network. It draws life essentially from connnection and connectedness, and it is these qualities that are directed explicitly by the designer to show cause, context, or collaboration.
Datascape: The origins of the word ‘landscape’ are ambiguous. Its roots derive either from a combination of ‘land’ and the Dutch word for ‘ship’ or the German verb ‘schaffen’ – to create. In datascapes, both meanings suggest the potency and responsibility of the designer in guiding the viewer through a complex sea of meaning. Elevating the reader from ‘Flatland” – the reduced, lessened experience of reality that results from subjecting real experience to two dimensional expression – they create a journey of context and interaction. Perspective is blended with graphic frameworks to bring depth and meaning to the expression of data.
Datanoid: Retailers find that by placing mirrors in the window, passers – by slow down and take more time to look at the merchandise. As social animals, we are fascinated by our own reflections. We seek the bonds of unity and distinction in the images of other, as learning is driven primarily by emotional relevance.
Datalogy: Designers can access the entire bandwidth of human perception by investigating data with weight, space, and texture. In doing so, they provide sensual experiences of communication, delicously revealing the richness of complex datasets, so full of meaning and potential interpretations. This is the physical interface of analogy, well suited to continuous and graduated sensations we derive from our immediate environment.
Datablock: The implied certainty and substand of rectangular destiny make bar charts and tables a staple of business presentations. The defined borders, clear order, and straight forward comparability of data arranged as blocks complement the power structures implied by using Microsoft Powerpoint. Those running the seminar are assured that the conversation will proceed within clear constraints. No wonder people refer to a socially inept person as a square”
Review of book: This book categorised the different types of infographs and defined them. I noticed there was the category of the use of circles from looking through many examples in magazines, on the internet and in books but didn’t know there were were other categories and that there were particular terms for them. The contents of the book was visually appealing with big clear pictures of infographic examples, there was a double page spread that divided and introduced a new chapter – the title on the left page and a small introduction on the right page. After the chapter intro, there was a page of information about the type of infographic.
My interpretation/ simplified summary of the categories are as following: datasphere features circles, datanets features lines that link to different points making a relation, datascape focuses on positioning and laying things out for a meaning (where distance is a meaning), datanoid plays with the reader’s emotion, datalogy is a sensual experience (physical interpretation), datablocks where things are in units/ blocks.
I like that their contents page is an infographic too in that the pages are stems of the circle which makes them related and symbolise they are part of a whole represented by the circle. Also an interesting idea in making the brochure as a three dimensional infographic where it can be interacted and viewed on a large scale.
Turner Duckworth – Bruce Duckworth
- – 2 offices, 1 in London, 1 in San Francisco
What they look for to employ:
- David Turner works in San Francisco
- Bruce Duckworth works in London
- David works in SF because of family commitments
- 20 employees in each studio
- Skyline (London & San Francisco) Christmas card got into D&AD
3 types of client:
- a) cultural significant – Coca Cola, Levi Strauss & Co, Le Creuse
- b) progressive retail – Waitrose, Homebase, occassionally Superdrug
- c) entrepreneaurial – Liz Earle Beauty co, Lake House Table (new), Popchips
- Amazon logo
- New Diet Coke can
- Levi logo
- Use of logo e.g. Coco Chanel bad “change £40 bag to worth a lot more with the use of logo”
- Yahoo (complicated) search page vs. Google (simple) search page
- “simplicity must delight” > Waitrose honey pot> delight added with an image of a bee for the letter ‘e’
- Design Week creative survey voted Turner Duckworth as number 1 in design packaging industry
What we look for:
- great ideas – summer 2011 Coke can, negative space flip flops. “Do everything for a reason”
- “If it looks like hard work, you’re not working hard enough” – Fred Astaire
- England prepared o give time and scope (appreciates subtleness)
- America not subtle and immediately dismiss if they don’t understand
Response to lecture: After looking into Turner Duckworth before their lecture, I was really excited and the most look forward to the lecture I’ve ever been. I thought that their work is really impressive in that the big clients they have such as Coca Cola and Amazon, especially in that their work is current too because usually other lectures are talking about their work decades ago. Bruce spoke about different things but mainly what they are looking for in their company such as a person’s characteristic to work in their company or to become successful. I found that inspiring because it allowed us to take these notes down and work towards a goal at the end where we all graduate and get into the graphic design industry.
This is the diagram that Florence Nightingale (the nurse during the war) created to show the fatalities in hospitals to the Government. She wanted a visual representation because this would have the most impact.
This is effective because it shows the sheer amount of fatalities due to infections with the use of area and colour. The circle is divided from the centre into 12 segments with different radiuses to represent different amounts of causes of death.
It shows that even in the old periods that people used circles which are trending today in the design industry. In addition is relates the use of time with circles. A circle is a good shape to represent the year because each month has similar amount of days therefore the segment point is the same but the radius is not the same because it is a variable factor.
Beauty of diagrams, BBC4 (broadcasted 18/11/2010 – 23/12/2010)
Sautoy, M.d. and Waterhouse, M. (2010) The beauty of diagrams [DVD]. BBC; Tern.
Leonardo Da Vinci
- Leonardo Da Vinci “man is the model of the world”
- For a building to be perfect, it must have perfect symmetry and geommetry
- Leonardo – painting is like a carving
- 6 palms make a cubit distance from hand to elbow
- Elbow to armpit is an eighth of a man’s height
- Bottom of chin to nose is a third of face
- Ratio come from Petrouvious
- Did the man fit the shape first of shape fit the man?
- Diagram of height = arm span
- Cubit = 1 arm to tip of the finger
- Judas Last Supper, he watched people to find the right face
- Da Vinci liked people watching
- London Belgrave Square, man scultpure of his male drawing
- The Times newspaper have comical version of his male drawing e.g. obese women
Polish priest and astronomer Niclaus Copernicus – sun centred universe
- Rose diagram > red represent wounded, black from other e.g. frost bite, blue from infections
- Higher number from infections
- William Playfair – early charts/ graphs mostly line graphs
- “Important to convey visual”
- Tangent graphic, Afghanistan take on the Rose diagram
- Ellie Harrison: infographic designer “suceeded words had failed”
After gathering research of looking at existing infographics, I found that the most successful infographics are the simple styled ones as seen:
I found that information can be tiring to read, but with this piece, it makes it look aesthetically clean by having minimalistic items. It isn’t cluttered with good use of negative space between the information/ text making it look more free (less dense) and more appealing to read.
I will try to stick to a small palette of colour and keep the layout simple. There are only 6 colours used in this diagram, three vibrant colours to highlight key information, and three hues of grey for less important information. But there is a strong dark grey to establish hierachy in the titles.
I think will need to feature images of fish to establish what the infographic about because as learnt from this particular infographic, I wouldn’t immediately know what it is about as the image of the ear isn’t really prominent:
I am going to have my infographics as a newspaper size because I wanted to create a three dimensional outcome in addition to the two dimensional outcome of a poster. The three dimensional posters will be folded to a chip bag shape to contain the chip bar chart.
I found that newspaper layouts has the features of a:
– bold sans serif title/ headline, – a thin horizontal line at the top of the page, – thin horizontal lines used as dividers to breakup information, text in columns
Result I want to achieve: I think I want to retain some of the key features of the newspaper in my infographic but I think I’d want to make it appear more interesting instead of columned data and it can be used/ appear like a poster as well.
Review of feedback: I think that Simon is right in that I should show the fish as a giant swarm together to effectively show the decrease in numbers. I could maybe shape the graph using lots of the different fishes with each line being a different layer of fish. However it would be difficult when the lines overlap each other – I could play with the opacity of the fishes to show that the figures are the same.
I’m not sure/ don’t agree with having a textures wave fill as a background image because I think that would be very distracting and that the two styles would not go together: being flat 2D fill shapes against a photography background.
Visocky O’Grady, J. (2008) The information design handbook. UK: Rotovision.
Innovation: cave paintings and petroglyphs – P28
- Cave paintings and Petroglyphs images were used as a means of communication 80,000 years before early writing first appeared in Mesopotamia (circa 3000 BCE)
- Prehistoric markings can be found in the forms of cave paintings, cliff drawings and petroglyph represent the first known attempt at visual representation of informaiton
- Lescaux and Chauvet (both caves) in France, world’s oldest cave paintings believed to be over 30,000 years old
- Empirist theory: motivated by a need to record important events
- Trance theory: shamans in effort to contact spirits, control lives of animals, change weather and heal the sick (more about David Lewis William’s trance theory, read – The mind in the cave: consciousness and origins of art (Thames & Hudson, 2004))
Innovation: pictographic writing – P29
- Sumerian pictographic writing systems was imprinted on clay tokens used for commerce
- Later clay tablets were used to keep records of agricultural and trade goods
Innovation: early cartography – P30
- Cartography – the art and scenece of creating maps
- One of the earliest cartographic documents is inscribed into clay in Sumer circa 1300 BCE, is the Town Plan of Nippur:
- Maps became more complexm in 150 CE Ptolemy wrote the Geographia, a document that contained detailed accounts of the world’s geography in the second century
- Romans created accurate maps of newly conqurerd lands to manage the construction of roads
- Renaissance cartographers created highly detailed charts depicting coastlines, ports and geographic hazards and wing direction
- In modern day we use satellite imagery which is available to any internet use
Innovation: charts and graphs – P31
- William Playfair was a Scottish engineer and political economist who believed that the visualisation of data was, in some cases easer to understand than the written wor.
- Playfair wrote to books, The Commerical and Political Atlas in 1786 and The Statistical Breviary in 1801
- Playfair wanted his audience to be able to visualise the connections between economical factors
- The father of almost all modern charts and graphs – he bridged significant knowlege gaps and specialised skills were no longer needed to interpret complex data
Innovation: ISOTYPE – P34
- ISOTYPE was created by Austrian sociologist and political economist Otto Neurath in 1940, with the help of German artist Gerd Arntz
- Goal was to educate a broad audience by presenting complex data via easily understood symbols
- “Words make division, pictures make connections”
- Developed a set of rules to ensure ISOTYPE’s consistent application – governed the use of colour, orientation, the addition of text and more
Innovation: Guides for structuring information – P38
- Czech modernist Ladislav Sutnar is considered to be one of the great pioneers of information design
- Sutnar’s work was dominated by strict, functional typogrphic grids, sans serif typefaces, white spaces and whimsical uses of colour and form
- Would design in spreads rather than single pages (the dominant format of the period)
- Use of parentheses, brackets, small images and icons to reinforce hierachical structures of content, these visual indexes allowed for rapid scanning of the page and enabled the reader to find information quickly
Innovation: The interactive exhibit – P40
- Charles and Ray Earnes (most remembered for their contribution to furniture design and film) were well ahead of their time in many creative efforts including information and exhibition design
- Central to their theme was the notion that math could be fun
Innovation: The pioneer plaque – P44
- Launched on March 2, 1972 by National Aeronautics and Space Administration (NASA) of the United States, Pioneer 10 ws the first man- made artifact to travel beyond the boundaries of our solar system and into interstellar space
- The last contact with Pioneer 10 was made in January 2003 where the craft was 10 billion miles away from Earth
- Attached to the exterior of the spacecraft is a 6 x 9 inch (15 x 23cm) gold annodised aluminium plate
- Designed by Frank Drake and Carl Sagan (artwork by Linda Salzman Sagan)
Innovation: The visual language workshop – P46
- Muriel Cooper (acclaimed as one of the most influential designers of the 20th century) with her work with the Visible Language Worksop
- at MIT (Massachusetts Institure of Technology) have helped frame our contemporary digital experience
- Designers, programmers, and computer scientists would come together in a spirit of exploration and experimentation
- In 1978 became one of the founding members of its Media Lab
Innovation: The first website – P50
- The internet as we know it today was developed in 1989 by Tim Berners- Lee, a physsicist working at CERN
- The first address on the web was http://info.cern.ch/hypertext/WWW/TheProject.html, a page explaining the technology behind the web, how to build a website and how to undertake an effective search