InDesign - Session Two

Overview

In this workshop we looked at how rivers, orphans, widows and hyphens can degrade the look of a publication. Rivers make it harder to read due to the larger areas of white space, this is because any area of one colour larger then another will always attract our attention. This relates to the figure-ground perspective. In regards to hyphens they simply look messy and delay our reading, as we have to move from one sentence end to the next beginning in order to read the word. For widows and orphan’s it is due to the eye focussing on the unusual within a page, such as if there were a red ball in a box of yellow balls for instance. Finally there is also the case of paragraph shaping (A.K.A. Clean rags), this can be particularly tricky to balance out against the widows and orphans and can require compromise between the two. These are all decisions a designer has to make when designing the final stages of a magazine, newspaper or book layout.

Example of Rivers
and Widows.

There are a few different ways to correct these flaws. These include altering the tracking, the kerning, using soft line breaks (A.K.A. Soft Return) and restricting the amount of Hyphens allowed within consecutive lines. There are options to alter the tracking in larger numbers using the options in basic character formats, the same can be said for the style or kerning. However, although these may seem a quick easy fix to your design problems, it isn’t that simple as these are a general guide and require alteration as to work for you. Furthermore although Adobe’s H&J violations highlighter can be useful, I find quite often the violation isn’t large enough to require amendment and therefore it can be easier to judge such by eye.

Leaflet Design

We were also shown other tools within InDesign that are used within magazine and leaflet design. This included the creating tab leaders, which can be used to aid menu pricing lists and also how to create a contents page.

How did you find it?

Front Cover Design

Magazine Spread Layouts

I found putting the error correcting rules into practice to be more difficult then it first appears. I found in particular with the widows and rags that it requires very careful consideration and therefore I feel I need a lot more practice on this area of design work. I find the paragraph styles to be a very useful tool within InDesign, as not only can you easily set a style to a block of text but you can also change it if need be. However if using an array of different styles then it is best to ensure a clear labeling system. A good note to point out is that although there is the option to change the paragraph styles half-way through a document, this isn't ideal as it may move text to other pages if flowing from one box to another. Therefore it is always best to decide on these design elements at the beginning of a document. 

I am quite pleased with my design, however I feel I had spent too much time on it, though this is due to getting to grips with the techniques. I am particularly fond of the front cover and pages 6-7, this is due to the dynamic feel to the cover through the use of the energetic action shot paired with the colour choices. While I am pleased with the last two-page spread due to the juxtaposition of content, though I feel if it were to be published in a real-life magazine then it would need further improvement. 

All images used within the design were found using Google Images, no copyright infringement intended, used for educational purposes only. 

Below is the experimental design:

Logo Design With Dave Sedgwick

Dave Sedgwick began the workshop by introducing himself and the work he has taken part in before describing what it needed from a good logo design.

The Briefing:

To start off the workshop we were given a choice of three fictional branding briefs to choose from.

1) Juice bar for kids

Coffee shop for kids based around juice, 7-14 year olds, no adults allowed apart from staff. Need to target children and teenagers. Plus parents want to make sure they know their kids going somewhere safe, secure, friendly and clean. Posh looking, friendly

2) Silence hotel

Boutique hotel with only 12 rooms, just outside London, aimed at young professionals who crave peace and quiet. From check in to check out “A vow of silence can be taken in order to sharpen senses, whether they be physical or mental, or to discover certain aspects of oneself.” Relaxed atmosphere, ambient lighting, holiday orientated.

3) Virtual Pub

Staying in is the new going out. Still want to go and see friends but want to do it in our own homes. App, virtual reality which allows you to visit a “pub” and take off headset, go straight to bed.

Also we were asked to devise a name for the “client” to which we would design the logo for.

Sedgwick gave us the following key tips:

Name

Don’t go for the obvious, make it memorable with meaning.

Try two words added together to make a new name.

Can you come up with something totally new? Do a web search as an example.

Don’t make your name too long.

Logo

Keep it simple, make sure it works in one colour.

Although it is only being drawn at the moment it will need to be created in illustrator at a later date. This is so it can be resized accordingly as a vector image.

Try to be original. Don’t go for the obvious.

Try to get a sense for the target audience, think about size, it should work small and large. Eg: twitter’s logo.

Sedgewick then proceeded to show us examples of working and non working logo designs as examples to what works well. Below you can see that I have listed these.

Good logo examples:

Amazon,

Fedex

Tobelerone

Human,

Slice,

Pauce

If only.

Monograms – simple graphic logos joining two words/initials together

Bad examples:

Loud, colourfilled, too many ideas in one, subtle innuendos accidently created.

Initial Ideas

Sketch lots of idea. Each time you draw a new idea your thoughts and concepts will change.

We don’t need to be experts at drawing, its about getting ideas down, do lots, refine it, tweak it, draw it again. Everytime he draws the logo he does different changes, tweaks to it.

Finally before we set to work on the task he added that no idea should be discounted, at this stage every idea is good. 

My Logo

I chose to tackle the virtual pub brief as my initial thought was that of the smoothie bar for kids, however i felt that the virtual pub idea would challenge me more.

Name Generation

I decided to experiment with a few of the names, to see how the best ones would work as a logo design.

Initial Logo Design Ideas

My next stage was to chose the name I was to stick with and develop further. I chose the name of GatheInn or G-Inn for short as I felt this reflects the social atmosphere of "gathering" with your friends, the use of the word Inn as an alternative for pub or bar creates a exclusive feel. Finally shorting the name down to G-Inn sort of plays on the name G and tonic.

Developed Logo Designs

I eventually narrowed my choices down to the three designs shown below.

Final Three Logo Designs

My first design(from left to right) was again playing on the name Gin and Tonic for the drink, I tried to visualise this with the G forming the glass and the I shape in the form of a toothpick holding an olive. The second design was that of a play on letterforms in which I merged the initial three letters of the logo, which spell Gin for the drink again playing on the idea of it being an app to socialise while having a tipple. Last but not least is another combination of letterforms to create the word Gin which indicates to the products name G-Inn as its verbal sound would be the same, if it were not for the hyphen.

Finally throughout my designs I began to adopt to the logo a shell like appearance which could symbolise that of one being at home, "within one's shell" as it were. Within the last three designs, although not obviously apparent I have aimed to incorporate this theory into the form.

Review of Workshop

I thoroughly enjoyed this workshop and look forward to doing more work around branding and logo design. In my spare time I may create a vector image displaying what could be a Final Design for this mini project.

Appropriation & Shrek

Appropriation - This term describes when something is used as a deliberate attempt to emulate past styles, reflect past icons etc. Sometimes as a social/political comment, for a fresh look on the subject or to parody the original subject.

Appropriation in Shrek

Why are they being used? How are they being used? To what affect are they being used? What is being referenced? Do they differ from their original?

Traditional example of Sleeping Beauty

Sleeping beauty - Shrek takes a fresh new look at fairytales and re-interprets the female role. Not only does it create comedic satire out of Sleeping Beauty but it also incorporates countless other fairytales into one pastiche. It questions the original fairytale’s values, hierarchy on beauty and the importance of such in a relationship. 

Fiona in Ogre form

In regards to its mergence of children's fairytales it also incorporates appropriation from other well-known films such as The Matrix. In the scene where Fiona and Shrek fight off Robin Hood and his Merry Men Fiona at one point freezes as if in slow-mo and this is taking reference from the matrix's use of slow-mo action scenes, which display the fine details of the fights. Fiona having the braided ponytail hairstyle reminds me of Lara Croft in this scene, therefore referencing the princess to a fierce, brave and empowered women's role model. This is a bright contrast to the helpless damsel in distress the story tales usually depict and is further deepened by the princess's "curse".

Expectations vs Reality.

From the outset we are introduced to expectations of how the story should unfold, before aptly disregarding the notions. The princess Fiona has been brought up with the expectation of a "handsome young prince" with the name of Charming to come and rescue her from her tower. So when encountered with Shrek's less then gentle awakening she is at a dismay as to how he doesn't understand the romance of the moment. However, Fiona has a curse to which she becomes an Ogre at night and due to this she has security issues in regards to her looks and although Shrek is himself an Ogre she becomes scared that he wont like her true image. In hearing a mere snippet of the conversation between her and Donkey, Shrek presumes she is talking about his looks to which Shrek is visibly affected emotionally and later in the film all is resolved as the truth is revealed and Shrek explains that she still looks beautiful to him. This is challenging cultural concepts of beauty and love and also that of the female role model.

The inner narratives such as described above are what creates interest and also challenges an adults' way of thinking while watching the film. While at the same time for the kids it is an all-round fairytale adventure, but with some good principles to display. The demonstration of beauty and looking like a "princess" being not definitive to whether a person loves you or not sends out a good message to children and also helps in building body confidence.

Post-Modern 

Due to the collaged like mesh of fairytales and the appropriation of different sources, there is a post-modern feel to the film. It is post-modern in its sense of subject matter and satire as it makes fun of known reality TV shows, Celebrities and also of itself. It makes fun of itself particularly in the extra scenes on the DVD, one example being the karaoke clip in which Shrek directly addresses the audience. He also talks to the audience when introducing the film, as he narrates the traditional fairytale story opening.

Helvetica - The Be all and End All?

After watching the film Helvetica by Gary Hustwit I decided I would create my own description of Helvetica and its pro's and con's. This is based upon what I had learnt throughout the documentary and online.

Helvetica has been popular now for 50+ years and is so due to its neutrality in form. Its neutral appearance enables the designer to use it for a multitude of different projects. These can vary from a hospital sign to a new household product’s advertisement campaign. Most commonly Helvetica is found within informational documents as issued by the likes of government and local councils in regards to public information. It is also found on road signs, directions and shop displays, it is so commonly used in fact that many people are unaware to its ubiquity. It has become a default font in a way, as for some designers it’s the go to font that they know can be adaptable to its purpose. However It’s strength is also its Achilles heel as its due to this neutral vision that the font can become a bland and lifeless choice, especially so If the subject requires invigorating energy or a hint of elegance for example. For these jobs it is much more appropriate to use a different font, for example perhaps using a serif font to display a sense of quality and elegance through its decorative flourish. 

However, Helvetica can still to a degree attain a sense of emotional connection through how the designer “dresses” it up. What I mean by dressing the typeface up is by using a certain colour, or colour variations to identify with a brand that then takes on the typeface as “its own” identity. One way in which designers have been known to use Helvetica within brand identity is by customising certain letters of the font within the logo, or even as is the case with Skype softening the edges to give a more friendly, homely approach. 

You can see a range of companies who have used Helvetica as their base font and in some cases personalised displayed on the below website: 
http://www.webdesignerdepot.com/2009/03/40-excellent-logos-created-with-helvetica/

Helvetica when compared against Helvetica Neue has a smaller range of weight variations and when compared directly against Helvetica Neue it is apparent that the form is less smooth. When using Helvetica I tend to use Helvetica Neue due to the reasons mentioned, also I find the smoother curves on Neue give a more friendly appeal to the typeface.

Creative Morning Berlin #13 - Erik Spiekermann – Type On Screen

Today I watched a 20 minute lecture by Erik Spiekermann on Vimeo about typefaces and their use on-screen and gathered the understanding as seen below. You can also watch the lecture here: Creative Morning Berlin #13 - Erik Spiekermann

Screen Resolution and Type

Different screens produce different results in terms of on screen fonts; quality and sharpness of the screen can possibly make or destroy the effectiveness of the typeface on screen. This is a risk that is inevitable to take. The answer is to compromise on choosing a typeface, which will hopefully balance between the two ranges of screen resolutions being most commonly used at the time. As time progresses this will hopefully make choosing typefaces for on-screen media much simpler as the range of resolution available to TV and PC monitors increases and therefore lowering the price of earlier models and reducing the gap to which viewers have their screen resolution set at.

Branding Ideas - Apps

We more then ever use paper to quickly create sketched out ideas – this then gets transferred to a mock-up “dummy” upon the computer using a tool called Keynotopia – this is a recourse which can be very helpful in terms of creating quick digital mock-ups for prototype iPhone apps. Using this enables you to create the design in keynote and transfer it onto your phone before moving onto the coding of the app. Antetype is another online recourse in which you can create prototype visuals for apps to be viewed on any type of screen.

Branding and Type

Branding is made clear on the Volkswagen app he helped to design due to use of colour and typeface choice. The consistent use of a typeface within a brand and of certain colours can bring to mind an instant identity.

Red Bull’s app is also branded by colour and use of a particular typeface. And the design is mirrored across onto their website. These examples are actually native Apps as opposed to web apps, so the type is embedded into the software so it cannot be stolen.

Poster design – for the Red Bull music academy posters they chose to create very anti-branded designs, this is because Red Bull as a brand has very much an ethic of whatever you want to do, you can do it. It is for the extreme, fast and crazy sports and encourages individuality through this and music. They found this really exciting as a project for a design agency as it opened up a variety and breadth of possibilities to which they took on board. The style of the poster is dictated by the style of music on show at each particular music festival.

Screenfeeder app – Spiekermann explains that if they were to use Helvetica on this app it would just bring to mind Apple and therefore by using this alternative font they have given it a unique identity. It is fresh and contemporary but yet references to the old typewriter to give a look similar to that of old-fashioned telegrams.

With a further project he worked on in regards to television screen-based media they used a typeface based upon the typewriter, this type was clunky in form in terms of being asymmetrical as to reflect the old-fashioned typewriters. They then were required to create some iconography and so due to the choice of typeface they decided to reflect the look of this into the icons as to create a more “dynamic” look. To me when Spiekermann presents this idea it infers movement and natural form and employs a sense of approachable friendliness due to the hand-drawn look achieved by the aesthetic approach.

Seminar Task - Does The Form Follow Function?

Which do you think has been given hierarchy in the design? Form or function? How do the two work together?

Water bottle I used as the subject
to base the task upon.

At first it strikes me as more focused on decoration in order to suggest streamline and sporty functions through use of shape. Though on further inspection the shape gauges something to grip onto, its curves aid how the hand curves across the bottle, this improves grip of the bottle. The rubber on the lid is functional in terms of aid grip to open the bottle, however this only applies to the lower half of the lid, the upper half is more of a decorative purpose indicating sporting use.

The form could be further manipulated to mimic how people hold the bottle by incorporating a slight indentation into the base as to guide the hand and improve grip further.

Could its form be improved in terms of function?

I think this depends on whether the object in question is intended to be used to its upmost potential as a functional object or more as a decorative piece. In terms of something created to aid and make easier everyday life, I do believe that the form should follow the function. Though this could differ in different climates (ie by environmental effects on materials) and cultural differences and practises. Also further to that point, beautified objects can help to make people feel at home and relaxed, though this could be countered with the argument that less is more and therefore helps “cleanse the soul” of all unnecessary clutter.