Week 05: Visual Writing
Written Communication - Weekly Learning Objectives
You will be working towards achieving the following learning outcomes detailed in the Assignments tab:
LO2: Contextualise – appraise the social, political and historical contexts in which design practice operates.
LO3: Analyse – evaluate research findings and use sound judgment informed by critical debate at the forefront of the academic discipline.
LO4: Distil – position a creative strategic insight that has been distilled and refined through an informed investigation.
LO6: Make – select and utilise relevant tools, skills and technologies in the delivery, iteration and sustainable production of an outcome.
LO7: Collaborate – demonstrate inclusive and empathetic strategies to plan and execute a project across distributed collaborative situations.
LO8: Design – realise a final solution that evidences its strategic journey and clear relationship between form and function.
Studio Practice research - Repair café
This week’s research was focused on combining typography to create a visual message.
From my initial notes from my first visit to The Repair Cafe on the 10th of February, one of the initial problems with encouraging users to visit was that the community was unaware of the type of product that could be fixed. I wondered if a combination of typography as a graphic aspect within a design could ingeniously provide a visual narrative that resonated with the community in a simple form.
Paula Scher
One of Paula Scher's most notable contributions to graphic design lies in her innovative use of typography. She approaches type as a dynamic and expressive element, evoke emotion, and communicate complex ideas. Her typographic compositions often feature bold, playful letterforms that command attention and engage the viewer.
Could I create something similar for The Repair Cafe?
Reverting back to one of the first documentaries from the lecture material in 710, I remember how Paula Scher's renowned work for the Public Theatre, where typography serves as both a functional element and a visual statement. Inspired by Scher's approach, leveraging typography as a graphic tool for The Repair Cafe can advocate for sustainable practices within the local community. Combining phrases like 'stitch don't ditch' for sewing objects, 'Mend don't end' for general household goods, and 'Improve don't remove' into the design, creatively articulating the message of preservation and conscientious consumption. The design communicates a compelling narrative through dynamic typography intertwined with imagery of repair and restoration, urging individuals to embrace repair services as an alternative to discarding items into landfills. This blend of typography and graphic elements not only conveys a visual message but also ignites a sense of responsibility, with a nod towards sustainability and community engagement.
Initial Concepts - sketches
Here are some experimental sketches based on typography-shaped graphics that communicate the key ethos of the Repair Cafe.
Could a playful arrangement of a typography-shaped product combined with a sustainable message communicate the importance of my under-valued local site?
Week 05: Lecture - Written Communication
In this lecture video, Stuart explores Visual writing and written communication.
Before we first look at contemporary case studies, we start with a question
“What drives an artist or graphic designer to write about visual culture?”
As designers, we often take the role of the author, as well as the visual interpreter down to our ability to translate verbal messages into a creative piece of work.
The lecture material delves into the multifaceted realm of written communication within the context of graphic design, exploring its history, contemporary manifestations, and the motivations behind graphic designers engaging in textual discourse on visual culture. It scrutinises the interplay between critical writing and design, shedding light on how these elements intertwine to shape perceptions and provoke discussions.
Through case studies of authors and publishers catering to design professionals and enthusiasts, the lecture illustrates the diverse ways designers utilise digital, print, and production techniques to convey narratives visually. Additionally, it examines collaborative approaches adopted by practitioners, emphasising the relationship between different creative disciplines in shaping compelling narratives and experiences. Through this exploration, the lecture highlights the pivotal role of written communication in graphic design.
Neue Grafik journal 1958-1965
Neue Grafik was arguably the most important journal responsible for disseminating contemporary and historical Swiss functional design ideas and philosophies. It was once referred to as the “International Typographic Style”, “Swiss New Typography”. The journal was also known for advocating the use of photography as a central element in graphic design. Central to the journal was the conception of the designer as a great deal of social responsibility.
Typographie 1967
Emil Ruder, one of the originator of Swiss Style, was widely known for his use of asymmetric layouts, and the use of a grid, sans-serif typefaces and ranged right text. His holistic approach is still recognised globally as a fundamental resource for graphic designers and typographers.
By the mid-20th century, graphic design studios and advertising agencies most pertinently in the US embraced these streamlined principles of the International Typographic Style, drawing inspiration from movements like Bauhaus and Constructivism. This adoption aimed to bolster product sales by projecting a contemporary and progressive image for magazines and brands.
Paul Rand, a self-taught American graphic designer, exemplified this ethos, recognizing the symbiotic relationship between good design and business success. Rand ingeniously incorporated European design principles into his work, crafting iconic visual identities for multinational corporations such as IBM, UPS, and Enron. His contributions underscored the pivotal role of design in shaping corporate branding strategies during this period.
Paul Rand 1914 - 1996
Video - Paul ability to create visually arresting and memorable images that often utilised simplified, graphic shapes and reduced typography.
He published his seminal book, Thoughts on Design, despite later admitting that he was insecure as a writer. This might be why it is only 96 pages and full on big images and typography.
Design Matters - Adrian Shaughnessy
Creating Books for Designers - Adrian talks about how he became frustrated in creating books for mainstream publishers, before setting up his own publishing house.
He explains how he likes to produce books visual culture books, that the mainstream publishers won’t touch, and how it’s great to choose a subject matter and get a mixture of contemporary and historical subjects that are relevant to their audience.
Adrian shows his favourite examples of information design combining a mixture of the material from original brand guidelines taking from original manuals that are pieces of classic design taken from the archives. These are amazing specimens of original editorial design put together by some of the biggest names in design - like Paul Rand. (see above)
In loving memory of work - Craig Oldham
We view an example Craig Oldham's homage to the miners' strike. This book serves as a vivid testament to their relentless dedication, chronicling their daily struggles and the far-reaching impact of their strike fervour across the nation. The design is equally visually appealing in its strength and boldness, capturing the essence of the movement. Each page unfolds a compelling narrative. Craig's intimate ties to the strikes infuse the book with a profound sense of personal investment, making it a genuine labour of love. Craig acknowledges the two-decade delay, yet affirms that the end result was unquestionably worth it.
In Loving Memory of Work Craig Oldham
In Loving Memory of Work is about the collective creativity of working class people, people who dealt with their experiences and struggle creatively as a means of expression, and that's a vital part of this particular period of history, and of humanity.
Oh s**t, what now? Craig Oldham
In his second book, Craig offers honest advice for students and graduates trying to break into the industry. He explains that there is a lot of emphasis on graduates getting their portfolio right, but a lot of job interviews are also based on you as a person and whether you might be a good fit for the business.
Octavo - Mark Holt and Hamish Muir, co-founders and partners in the London design firm 8vo
Examples of this magazine from 1985, were underpinned by a shared interest in focusing on typographic design as the core component of visual communication that was a highly prevalent trend in UK design from that 80s era.
8vo magazines and books
The original motivation behind Octavo: was Simon (a fellow founder) interest in words and language that went beyond how type is applied in graphic design. Through a series of 8 magazines and then a publication, they re-imagined printed characters as an art form itself. With textual layouts, fonts, vibrant colours and also extravagant print finishes which was a radical diversion in the pre-digital era.
Reflection - thoughts
If anything I have taken away from these lecture series, is that design needs more than just a typographic aesthetic and a visual appeal. Great design tells a story to its target audience.