History of Graphic Design 3: October 2013

Thursday 31 October 2013

EXERCISE 5

EXERCISE: 5:

Examples of South African Conceptual Design:

Title: Animals Can't Be Recycled. Please Don't Litter.

Year: March 2011.

Description: This Campaign depicts objects (cans/ paper bags) or substances (oil could cause pollution) that could be very harmful to the animals situated on land or at sea. These animals could be killed by these factors which could possibly be recycled in the correct places. The viewer is being made aware of the fact that the activity of recycling is being promoted and this can help to save the lives of many animals including frogs, octopuses, chameleons and many more. The Joburg Zoo is responsible for this campaign. Photography to capture the reality of life can be seen.

Figure 1: Johannesburg Zoo: Anti-Litter Campaign, Octopus.

Figure 2: Johannesburg Zoo: Anti-Litter Campaign, Chameleon.

Figure 3: Johannesburg Zoo: Anti-Litter Campaign, Frog.

Title: Operation Smile.

Year: Recent.

Description: This campaign was done in order to make the public aware of children who were born with a cleft lip or palette. This makes it very uncomfortable for a child to be around people and it also affects their way of talking / eating. Each print advertisement depicts a child, their story and scenario along with an object (sock, dot and hair) that they utilize in order to keep the bad mockery eyes of the public away from them as the outcome is very painful and hurtful. The public is being made aware that they can help each of these children by donating money towards their medical treatment as they all deserve a proper smile like the rest of us. It’s all about being considerate, caring and respectful for these unfortunate children. All imagery is done in the form of illustrations to make the storytelling more connective and visually appealing.

Figure 4: Elvis Sock.

Figure 5: Charlie Dot.

Figure 6: Sally Monkey.

Title: Vodacom – Don’t Text and Drive.

Year: May, 2012.

Description:

The campaign focuses on making the public aware, that they should never text while driving. Cellphones can be harmful objects and could take the lives of many. The posters both depict an accident scene (tree in forest/ cliff) from the view of a car window, at the driver’s seat. The text messages “see you shortly” and “I love you” tell the stories of those who were have suffered the consequences of not driving safely because they were too busy texting. The typography tells the stories as the environments set the scenes. The advertisements are very sad and heartbreaking as people should never use cellphones while driving.

Figure 7: Don’t Text and Drive – Tree.

Figure 8: Don’t Text and Drive – Cliff.

Links:

All imagery: http://adsoftheworld.com

Figure 1: http://adsoftheworld.com/media/print/johannesburg_zoo_antilitter_campaign_octopus

Figure 2: http://adsoftheworld.com/media/print/johannesburg_zoo_antilitter_campaign_chameleon

Figure 3: http://adsoftheworld.com/media/print/johannesburg_zoo_antilitter_campaign_frog

Figure 4: http://adsoftheworld.com/media/print/operation_smile_elvis_sock

Figure 5: http://adsoftheworld.com/media/print/operation_smile_charlie_dot

Figure 6: http://adsoftheworld.com/media/print/operation_smile_sally_monkey

Figure 7: http://adsoftheworld.com/media/print/vodacom_dont_text_drive_tree

Figure 8: http://adsoftheworld.com/media/print/vodacom_dont_text_drive_cliff

EXERCISE 4

EXERCISE 4:

MANIFESTOS

The first things first manifesto 2000.

In this manifesto we are introduced to the design field as well as designers or upcoming designers. There is a demand for advertising and other methods of communication and this has risen as the years have passed. The objective is to be fast with the creation of the product and the quality because of the increase. The consumer needs to get the product quicker. The aim is to design for the sake of creating it and not time to think about things. The manifesto enlightens us about the design field and our role as designers as well as how design plays a major role. Designs must have a function as well as it being good aesthetically. The form must have a function. We must adapt on existing skills and stop relying on technology but strive to be innovative and unique for the future to come. Designers must experiment, and find themselves by stepping out of the box with different types of mediums, sizes, colours, shapes and many more other aspects of design. Designs should never just be a pretty picture but rather have a purpose, create awareness or catch people’s attention.

The manifesto was done by a collaboration of graphic designers, in a single article stating their opinions and points of view on what they do. They are voicing out their freedom of speech and talking about democracy and how the political context affects them. We are introduced to their way of doing things, which they abide by. We are told how designers utilize their talents in an effective way. Mass media communications also has a huge importance in advertising. This manifesto was basically an introduction to a person’s/ peoples role/ occupation, their objectives, aims, the method of communicating with people and the plan of action. This is similar to that of a scientific approach, a hypothesis, broken down into different sections.

Incomplete manifesto for growth (Bruce Mau).

This manifesto was done in 2011, by Bruce Mau. It articulates his beliefs, strategies and inspirations as a designer. The manifesto is an informative guideline through his designing process. This consists of 43 important points and has the aim/objective to assist designers as well as creative’s to think about their design process. While enjoying design as a job, there is still a sense of discipline and happiness as well as making sacrifices which always pays off on a good note in the end.

Team: Kelessa Moodley and Miranda Alvar.

Links:

The first things first manifesto 2000:

http://angieneering.net/mission/manifest/

Incomplete manifesto for growth (Bruce Mau):

http://blogs.erg.be/a_propos/?p=745

EXERCISE 3

EXERCISE 3:

The contemporary brand that I truly admire as a designer that appeals to me is, the Mugg & Bean brand. They provide a variety of food, beverages and desserts.

New Logo:

Old logo

Visual marks are utilized for identification purposes, known as branding. This creates a status, is recognizable, memorable and adds classification to a product. All of these attributes tie in with the Mugg & Bean brand.

Appeal:

The Mugg & Bean logo was redesigned in 2008. It symbolizes the two main roles which the franchise plays: 1. Quality and 2. Value for money in return to the special consumers. The logo is bold, unique and a very memorable one. It is a clear description of a combination of both South African and American taste. The Mugg & Bean branding is simple and modern starting off with a centered bold star, and then the brand name, seen in a decorative typeface contrasted to the slogan in a clearer manner.

The brand name is bold and aligns with the slogan being the same length. The slogan has a thinner stroked typeface and is smaller point size in uppercase letters. Black plays a dominant role in the Mugg & Bean branding, being very consistent because it is used throughout all advertising as a background.

CORPORATE PHILOSOPHY, IDENTITY AND IMAGE:

Mugg & Bean had first been opened up in Cape Town, Waterfront, now known as the V & A Waterfront, in 1996. The founder, a restaurateur of the time, Ben Filmalter had made this possible. The restaurant/ franchise was based around the theme of coffee, which led to the development of the corporate identity concept. The brand name was formed from the combination of two figures at the time: Clement Mugg and Joshua Fenomah Bean. Mugg & Bean make their customers their very first priority. The dining environment is very warm, welcoming, comfortable and homely. The entire Mugg & Bean brand is based on strong and effecting photography seen throughout their advertising techniques (websites, flyers, menus, advertisements and the actual restaurant itself (walls)). This photography makes the reality of what the brand has to offer visible, revealing the truth and complimenting all visual aids with the aim of achieving a successful target market. Three main contributions unique to Mugg & Bean are their generous portions, the gigantic freshly made muffins/ cake slices/ desserts as well as their bottomless coffees.

Mugg & Bean have also created the “On the move” concept, this offering takeaway services to customers who are in a rush. An example of a takeway packaging would be for the containment of coffee, the lid has a smiley winking face on it created from the use of symbols. Mugg & Bean also has specials on occasions such as breakfast time to make it a more enjoyable and satisfying time of the day.

Being of South African roots, it is a truly inspiring restaurant that aims to uplift the lives of their consumers. Always using design and service to promote a positive attitude to the everyday life, making sure everyone goes with a smile on their faces. This contributes to making good changes that end up being a huge difference amongst the community.

Change:

I would not change a lot about the brand strategy but a little on the image. I would add in one or two tones of colours such as green and red for packaging, to colour code the food, beverages and deserts into separate categories. I also think that by bringing in the technique of illustrations or strong but legendary cartoons of representatives for the Mugg & Bean brand, this will attract a bigger target market. An example would be the prominent Ben Filmalter and his wife, who could be very iconic figures but are portrayed with a modern look to suit this day and age.

Links:

Logo 1: http://baysidemall.co.za/store-information.htm?shopMGID=33647

Logo 2: http://www.supersport.com/cycling/article.aspx?id=278168

Images 2-3:http://www.themugg.com/

Image 4:http://shopstudio.co.za/?photo-galleries=mugg-bean

Image 5: http://www.redespresso.com/2013-produce-awards/

Image 6-7: http://www.westvillemall.co.za/store/mugg-bean/

Image 8: http://www.themugg.com/on_the_move.php

Image 9: http://www.themugg.com/franchising.php

EXERCISE 2

EXERCISE 2:

The local design magazine, which I had selected to do further research on, was Enjin. The focus was the content and style of the magazine.

About:

Enjin magazine originated from South Africa. It is seen as the only magazine based on the latest trends as well as new technological developments which professionals are in search of, in order to keep up to date with the global economy. The magazine outlines issues experienced within the fields of design and advertising. This print magazine is also available online and expresses the technique of visual communication. Enjin magazine focuses on areas such as: advertising, graphic design, illustration, digital media, photography and illustration. This provides an insight on a wide variety of topics that will interest its readers.

Logo:

The logo is enclosed by a thick stroked, rectangular border/ box, which has a slit of breathing space, created by the “J” of Enjin. The single, san-serif “Enjin” based in the middle of the design is connected to the border and is black in colour as well. The brand name is bold and seen in quite thick strokes as well as large sized type. The slogan: “MAGAZINE FOR CREATIVE PROFESSIONALS” is seen in uppercase, black san-serif type, but less decorative and more simple and rigid. This line is aligned to fit within the length of the border-like box. Spacing within the border and outside is equal.

Layout:

The layout is clean and peaceful. The branding is always the strongest element consistently seen throughout. Each cover design suits the topic to be discussed further within the content of the magazine and the use of the different types of media, e.g. the photography links to the mood and environment of the reader. All type is left aligned on this cover and is seen in white, making it pop out from the sophisticated darker tones of the photography. The overall look is contemporary and fits within the context. There are always lots of visuals which compliment the text. A 2 or 3 column grid is always used for organization.

Type:

As we can see, the Enjin loves experimenting with the design of their typography, making a variation for each and every different occasion to come created by the members of the team.

Typefaces are kept to occasionally a restriction of a single typeface or a variation of two choices, one for headings and the other for body text. This keeps consistency throughout the design. Colours are always changed to either suit the mood, photography or imagery of the design. Typography is also depicted in various sizes and weights. It also depicts forms of hierarchies in design as well.

Content:

The content is very unique and contemporary. Imagery is an important aspect to Enjin and text is just a brief insight of what is being depicted. The design is new, fresh, innovative and conceptually strong according to each section/ topic. Professionals, graphic designers or people within the design industry are is where the emphasis is directed towards. The content reveals designs of these specific fields: advertising, graphic design, illustration, digital media, photography and illustration. The purpose of Enjin is to inform and provide a clear understanding in the form of education relating to its readers.

Style:

Enjin magazine makes use of a variety of colours, font sizes, weights and mediums: photography, illustrations, mixed media and many more to express each topic of discussion. This is great in terms of adapting to the atmospheres of the different interests of the target markets. As we can see an ancient yet humorous approach to design was taken in this layout as the colours are quite dull and mellow. They create an overlay over the visuals.

Genre:

Enjin is the only publication based in South Africa to express the fields of Design/ Graphic Design and technological gadgets.

Niche/ Target Market:

The target market consists of specifically professionals designers/ graphic designers and even upcoming designers. People who wish to keep up to date and informed about the latest of news within their community and even those who seek inspiration. The target market would range from teenagers to adults, so from 13 – 40/50 year olds. The designs range from being fun and playful to serious and political as the age group gets older.

Links:

Image 1:

http://www.behance.net/gallery/Enjin-magazine-cover/5662127

Image 2:

http://www.enjin.co.za/

Image 3:

http://www.enjin.co.za/about

Image 4-7:

http://www.designisagoodidea.com/wordpress/?page_id=3050

Image 8:

http://issuu.com/enjincr/docs/enjin47

workbook/blog exercises: EXERCISE 1

History of Graphic Design 3:

Workbook / Blog Set Exercises:

EXERCISE 1:

The objective of this exercise was to collect 10 contemporary logos that reflect the International Typographic Style (ITS) principles and style.

What is the ITS?

· It is the Swiss Design movement that emerged in Switzerland and Germany.

· Its influence continues into the 21^st century, mainly Graphic Design, which then branches off into logo design as well as Corporate Identity Design.

Some visual characteristics of the ITS are:

· A unity of design is created by an asymmetrical organization of design elements with the use of a mathematically constructed grid.

· There was objective photography and copy to present visual and verbal information in a clear and factual manner.

· It was free from exaggerated claims of propaganda and commercial advertising.

· The use of san-serif typography set in a flush left and ragged- right margin configuration.

· San-serif typography was seen as a technique to express the spirit of a more progressive age and mathematical grids symbolized legibility and harmonious means for structuring information.

· The ITS was socially useful and an important activity. The design approach was more universal and scientific as problem solving was embraced.

· The AIM = to achieve clarity and order.

Here they are seen below:

1. The BMW logo. (From past to present).

2. The Starbucks logo (From past to present).

3. The Pepsi logo. (From past to present).

4. The BP ( Petrol Station) logo.

5. The Rolls Royce logo.

6. Sterkinekor Movie logo.

7. Windows 7 logo.

8. Adidas logo.

9. Channel logo.

10. Mercedes logo.

Analysis of 5 favourite logos:

1. The BMW logo. This is a popular car brand. It stands for Bavarian Motor Works and symbolizes either a rotating propeller as well as the place, Bavaria which is where the brand is manufactured. This depicts a thick black ring encircled by a silver lining. The capitals “BMW” are inscribed in a single san-serif type, situated on the top half of the black ring. This suggests the progressive age, being now the present and the future to come. The middle of the logo is divided into 4 equal parts, and 4 alternative colours, blue and white. Here one can see the use of a grid is visible.The logo is known as a “roundel”. The logo design is simple, and creates a smart, clear, sporty and image-conscious identity for the brand. It also represents class, personality and sophistication. The logo makes use of neutral colours. Motion is created with the repetition of circles. There is unity, order and clarity as the logo fits as a whole and stands as a bold representation.
2. The bp, petrol station logo: Starts of with a fairly reasonable single, green, san-serif type that is right aligned. Directly below this is a geometric sunflower-like representation. The outer ring is seen in a dark shade of green, the 2^nd ring is in a slightly lighter shade of green, more like opacity, the 3^rd ring moves into a bright yellow and the middle, quite pure in white. The imagery was created with a repetition of the diamond-like shape. The typography is kept simple and minimal as well as the imagery. Although, the flower does compliment the type/brand by being bold and stands out as natural, bright and energetic. Here we can see the use on contemporary design.
3. The Rolls Royce logo is a car brand. This logo has two R’s which are overlapping each other. The double R’s stand for Rolls Royce. The back R works as a reflection or shadow of the front R. This works with positive and negative spacing. The logo is simple, yet the two types of san-serif typography creates a very creative, stylish, attractive and distinctive look. The full name of the brand is in a thinner stroke of typography compared to the middle abbreviation which has thick and bold weights of typography. All letters are uppercase. The rectangle is divided into three sections, the 1^st and 3^rd part are equal in size, this bringing in the use of a mathematically constructed grid. The middle section is three times the size of the outer two on either side. Rolls Royce is normally seen with a hyphen, this indicating the partnership between its two founders. The logo enclosed within the rectangular form creates unity. It is very neat and pure with just the use of the colours black and white.
4. The Adidas logo. This is a sports / clothing brand. The logo symbolizes aspects of elegance, durability and a leading sports brand in the world. The logo consists of three stripes, all equal in thickness but varies in length, from shortest to longest. The image created here is a mountain that indicates the challenges, seen ahead and the goals to be achieved. Below the stripes is the word “adidas”. This is seen in a single, bold san-serif font. The “i” from the word dissolves into the middle stripe. The logo brings out clarity, simplicity, confidence and leadership. There is uniformity within the size and spacing of the letters. Negative space is used within the typographic layout as well as the created imagery. The stripes are geometric, thus creating an abstract image. This logo is very minimal and both typography and imagery play equal roles in the design of the corporate identity.
5. The Ster-kinekor logo. This Movie / theatre/ Entertainment logo makes use of the ITS very clearly. The there are 3 variations of san-serif fonts used. The main letters “SK” are seen in blue uppercase letters and connect to each other. The top of the “K” extends to the right, right until the two lines of type below end. “SK” is seen in thick stroke weights. Directly underneath this is a simple white san-serif font, in a slighter thinner stroke weight, “THEATRES” in uppercase, aligned to the right and lastly the design ends of with a stylish, curly-like font, in white. This is aligned to the right as well. The slogan “your happy place” is aligned just under the middle of the “K” and is depicted in the thinnest stroke weight. This creating quite a space till the bottom of the “K”. This typographic representation brings in excitement, happiness, warmth and a bubbly-like feeling. All of this is place against a dark background being the contrast. The logo design is very structured with clarity and order. The word “THEATRES” is way smaller in size when compared to the brand name. The curly slogan is very harmonious and universal. The use of white brings out the purpose of existence of the brand.