Type me silly...

Hail to the Thief, Stanley Donwood: Radiohead Album Art.

Radiohead’s Hail to the Thief album cover was chosen out of 9 individual acrylic pieces, all designed by Stanley Donwood in Thom Yorke’s studio during the recording of the album. The series was created as a visual embodiment of the ideas and directions of the music.

The typography is truly hand written, and is warped, squeezed and stretched to fit into the coloured boxes. The typography is in all capitols, so the importance of each individual element can only be discerned by the size and prominence of its type, and not by the case of its letters (as we are predispositioned towards). Also, the typography appears in a variety of colours, thus statements are made through the contrast (or lack thereof) of the words against the background. Each element fits within a hierarchy of size and prominence according to its representative typography.

The dominant goal of this album was to draw the listener between political/social commentary and deeply personal thoughts and emotions. With this piece Donwood effectively does the same. He makes social/political commentary by juxtaposing clashing ideas (represented by typography in coloured boxes) through use of thier size, colour and proximity.

An example of his social/political commentary is seen between the “GOD” and “TV” boxes. The thought being put forward is that God, in our society, is arguably being replaced by TV, and that TV is of higher value to many people than God. The type of the word “TV” is the biggest in the picture. It is also the most contrasting with the white of its type against the red box, and is also in a prominent position, written near the centre of the image. Meanwhile, “GOD”, beside it, has comparatively smaller type and the red letters are barely discernible against the orange background. This parallels Donwood's social observation and creates and effectively controversial album cover though the use of typography.

iPod Billboard.

The only typography in this poster is the word “iPod” in a Helvetica font. The image of the dancing silhouette in black, and the iPod silhouette in white, against the glowing orange background is both modern and fantastical.

The message is simple: the iPod is a mystical yet attainable step towards modern happiness, and the simplistic typography makes the message all the more clear and powerful.

The product is aimed at the young, metropolitan consumer, and consequently anyone who wants to be seen as young and metropolitan, and the chique white colouring, and contemporary feel of the font make this typography effective.

Blue Steel, Dean Markley guitar strings.

The product packaging of Dean Markley's "Electric Cryogenic Activated" Guitar Strings has bold, and varying, typography that is only semi-effective.

The tracking between the letters of the words "electric", "cryogenic" and "activated" is so distanced that the words become very difficult to read. In fact, due to their spacing I did not register what the two words after "electric" were until I typed them out myself. If these words are important enough to put on the packaging, one would imagine they should be important enough to make legible. Since they are not I, as a consumer, could have overlooked this important element of these strings, making this example of typography ineffective.

The 3D shading and industrial-stamp shape of the words "Blue Steel", along with the condensation effect on the blue colouring, is effective in making the type of the words "Blue Steel" representative of the idea of 'blue steel', but nothing more. Through this typography the message of who the target market of the product is, is made no clearer. The message could easily be that the strings are crisp and clean, or sleek, or heavy duty, or for heavy music, or even for steel guitar. The typography, simply re-emphasizing the name, does nothing to clear upi the confusion.

Acey

Images Cited

Dean-Markley-Steel-Acoustic-Strings. Amazon. Web. 12 Oct. 2009.

Donwood, Stanley. Hail to the Thief. 2003. Cover Art, Album. Radiohead. Amazon. Web. 12

Oct. 2009.

Vyakman. Billboard. 2009. Photograph. San Francisco. Flikr. 17 Apr. 2009. Web. 12 Oct. 2009.

I'm medically observing your feelings. That's right, I have a Mood-Ring-Stethecope.

After being introduced to, and subsequently amazed by, Jonothan Harris and Sep Kamvar’s social explorationn project We Feel Fine in Lori’s Tuesday Lecture, I was left in two minds. I was impressed but apprehensive, touched but alienated: is this initiative the long-awaited proof of technology’s power to draw humanity closer together, or is it yet another case of technology’s ability to diminish the individual to nothing more than data? Is We Feel Fine simply a disturbingly impersonal route by which to take on the traditionally rejected role of voyeur? Has voyeurism become the expected norm?

The project’s mission statement, as viewed on the We Feel Fine website, does little to confirm either view. The statement opens with a description of the project as “…an exploration of human emotion on a global scale”, and goes on to explain in a distanced voice the scientific methodology behind the site’s operation. Terms such as “demographic slices” are tossed around in moderate excess, and promises to answer such pressing questions as: “Do women feel fat more often than men?” are offered freely. While not rude, exactly, the site’s description of its mission feels incredibly light and detached- like we are about to have the pleasure of watching cute little animals scurry about in a cage, free to toss them food pellets or tickle their bellies through the wires, only to go home in an hour never to think of them again.

It is the final message, however, that I feel overcomes all other voices:

At its core, We Feel Fine is an artwork authored by everyone. It will grow and change as we grow and change, reflecting what's on our blogs, what's in our hearts, what's in our minds. We hope it makes the world seem a little smaller, and we hope it helps people see beauty in the everyday ups and downs of life.

At first I was hesitant towards the initial science, the measurements and data, and the sometimes unfair analysis of the blogger’s feelings in this website. However, I see from this closing statement that We Feel Fine as an honest effort to show the amazing possibilities technology holds to explore, and connect us through, the human condition.

My own experience drifting though the feelings was pretty reflective of my daily interactions with those directly around me. Some I laughed with, pitied, or was irritated by, some I didn’t understand while some I understood completely… some I saw a lot of myself in and some I judged with eyebrows raised.

Acey

Las Vegas & CRAP ... quelle suprise ...

The CRAP principles: Contrast, Repetition, Alignment and Proximity, and the kooky little places I’ve found them since Laurie's lecture.

London Calling, The Clash: Poster.

The most prominent design principle in this poster is Contrast. The text in the upper left hand corner especially embodies this principle with its bold white colouring against the black background, and its sharp edges compared to the soft edges of the fuzzy images in the rest of the print.

This poster is up in my apartment, placed even more in contrast against a bright green wall. My eyes always are drawn immediately to the bold typeface, then lead down into the more abstract silhouette. I feel that this is the purpose of contrast here: to be a primary layer, leading the viewer subtly into the rest of the picture.

NYLON, March 2009: Magazine Cover.

The design principles that are most prominent in this magazine cover are Alignment and Repetition. The story line titles are split and aligned down each side of the page, making the surplus of words simple and clear to read, and leaving a clear space in the centre for the cover model.

Repetition is used in the typeface of the story line titles. The typeface becomes a consistent through line, as well as giving a clear indication that words with this typeface are associated: they all represent features inside the magazine.

Repetition is also shown through the pink, orange and yellow colour highlights found both in and around the text. These highlights create a bright, modern, dynamic and yet unified layout.

Tara McPherson: Graphic Illustration.

The design principle that is used creatively in this illustration is Proximity. I say that Proximity is used creatively, because with it the illustrator has made an element of her drawing that would otherwise feel totally out of place, seem a like a perfectly cohesive part of the story: the black balloons. By grouping these three, seemingly random characters together, a sense of story is given to the image. A living balloon does not make much sense in this setting (which I see as outer-space) but by placing these three related elements together, the illustrator creates a sense of organization that causes he viewer to trust her vision of the story.

I Changed My Name, 1988, Richard Prince: Acrylic, Silkscreen on Canvas

The design element that is used most cleverly in this contemporary art piece, while originally seeming to be Contrast, is in fact the artist’s use of Alignment. It is the off-centre alignment of the two canvasses that makes this piece so intriguing. Without the separation, or if the two canvasses were to be separated evenly and aligned at centre, the piece would be spectacularly boring.

What I find most interesting is that here, unlike with the NYLON Magazine cover, the use of alignment is more about the empty space than that which is filled. It is the empty borders that make this piece interesting: the elements outside the art that are the outcome of creative alignment which make this piece so deserving of note.

Final Observations

The CRAP principles are fundamental in designing for an audience. They are a simple and clear guidelines to creating a cohesive, attractive and captivating product that will make a decisive statement to a viewer-base.

The shortcomings of the CRAP principles lie in that they are largely mathematical and emotionless. They are blank guidelines that, in being intended for captivating an audience and keeping things simple, give no deference to a designer’s prerogative and story. Sometimes chaos is necessary to make a point, and the CRAP principles leave no room for this.

Math in art can only go so far, and the shortcomings of the CRAP principles are a perfect example of this.

Acey

The Japaneese have made many assumptions about us, most of them right...

In my ongoing battle against Blackboard I ended up reading through the course descriptions for first year RTA perhaps about 15 times. However, it was not until I was physically sitting in Laurie’s second period lecture on that first day that I actually realized that I had a class called Digital Media. “Digital Media, what the devil is that supposed to entail? Oh, I am DOOMED!” would be a more or less accurate account of my initial reaction. Something about the vague name, and the less than precise subject matter, must have left my eyes to glaze and my mind to pass over whatever little information there was about this course on the Ryerson website. I felt very unprepared.

However, throughout that first lecture my anxiety was slowly replaced with anticipation, and my bewilderment with realization: this course is about technology, communication and culture. It is about design and audiences, ideas and stories. My resources for this class are everywhere and have been my entire life: I am about as well prepared for Digital Media as I possibly could be.

My only remaining apprehension is that this is a constant on the horizon of my interaction with computers.

I’m working on it…

Despite my Death’s scythe hooked and hanging from my computer screen, the area of Digital Media that I am looking most forward to is web production. I am incredibly excited to learn Flash, which I’ve heard is both very difficult and VERY fun, as well as expanding upon my abilities as a blogger. I also hope to increase my understanding of HTML, which I first came across in 2004 when I, and I quote, “Pimped my Myspace”.

The one thing I’ve learnt in my various forays into the professional world is that anything you can do for yourself if of value. That is why a course like Digital Media is so important for a student in a program like RTA. The skills we will gain here will save us both time and money, and will make us invaluable contributors to any creative team. Furthermore, through increased knowledge we will have better control of all our endeavors, ensuring that everything we release into the world will meet our personal standards.

I am a musician, and through this course I am going to learn to design my own CD cover. When my band is ready for a website, I’ll know how to make it spectacular. I am a journalist who produces my own podcasts, which I subsequently release through my blog. With Digital Media I will have the opportunity to make a better-quality, more audience enticing blog, that will lead to a stronger following when I enter the professional market.

The worlds to be found in Digital Media are going to expand our experiences as public resources, and develop our understanding of our responsibilities as contributors to the information community. It is an awareness that we cannot do without.

So, was McLuhan right? Is the medium really the message? I haven’t decided yet, but I do know that while we are changing technology, technology is having no hesitations about changing us in return. A Multisensory Community is an absolutely accurate description of our modern North American lives, and if this weren’t true I’d probably still be sitting in RCC 204 ripping my hair out, unprepared, and out of communication.

Acey


Image: Sinead's pencil case, as scanned in class.