GARAMOND
On Christmas Eve ca 1534 Claude Garamond
sees his master Antoine Augerau, a type cutter and printer,
die on the funeral pyre together with his books.
Augerau was blamed for publishing papers
against the catholic church.
That was a few years after Garamond designed his famous font,
a French renaissance roman type face, but it emphasizes
the turbulent times in which he lived, underlines
the circumstances surrounding him; Martin Luther
and the prohibition of critiques against the church, the Bible
being printed into French for the first time, people
beginning to revolt and think differently.
Augerau had been of the opinion that new ways of thinking
need new typefaces.Already in 1530,
inspired by his teacher, Garamond took this challenge
and designed a font that aroused admiration.
After his death it got rediscovered, recut and was spread
under the name of Garamond.The Font Garamond led
to the development that the roman type face got away from
its model the chisel font and became
more light and dynamic than its Italian antecessors.
The Garamond typeface has a very calligraphic character.
It doesn´t remind much of carved work anymore,
all the heaviness is gone.The fact that the ascenders
of the lowercase letters are taller than the capital letters
give it character, even though it is actually
a quite conservative font. This is not meant in a negative way;
Garamond appears classical, elegant and delicate
through the round serifs with their many variants
and has a mild and friendly touch as well. It doesn´t
push itself to the fore and is highly pleasant to read.
Although Garamond is a font originally from the 16th century,
it still inspires type designers today, best illustrated by
numerous companies that copy it and create their own Garamond.
This fact proves the timelessness of the font.
Sources
Internet:
http://www.google.com/imgres?um=1&hl=de&client=firefox-a&sa=N&rls=org.mozilla:de:official&biw=1280&bih=582&tbm=isch&tbnid=3uSoB_Mrm1QfnM:&imgrefurl=http://www.identifont.com/list%3F3%2Bgaramond%2B10%2B1NA%2B1%2B3PJ%2B1%2BN19%2B6%2BN15%2B6%2B4DE%2B6%2BC4D%2B6%2BV7%2B6%2BMI%2B6%2B6DT%2B6%2B2VK%2B6%2BM5%2B6%2BE9%2B6%2BW5%2B6%2BNV%2B6%2BVS%2B6%2B29C%2B6%2BG8%2B6%2B6DU%2B6%2B221%2B6%2B27J%2B6%2B3Z3%2B6%2BF5%2B6%2BNJA%2B6%2B26P%2B6%2B26T%2B6%2BEF7%2B6%2BHK5%2B6%2B622%2B6%2B24HJ%2B6%2B2491%2B6&docid=YwCVaviFCegGBM&imgurl=http://www.identifont.com/samples/adobe/Garamond3.gif&w=432&h=288&ei=r50zT_DfKoqH0AW6s5GaAg&zoom=1&iact=rc&dur=406&sig=102471863567035785780&page=1&tbnh=153&tbnw=230&start=0&ndsp=13&ved=1t:429,r:1,s:0&tx=101&ty=45
http://schriftgestaltung.com/schriftlexikon/schriftportrait/garamond.php
http://www.thinkingwithtype.com/contents/letter/
http://www.100besteschriften.de/2_Garamond.html
http://de.wikipedia.org/wiki/Claude_Garamond
http://www.linotype.com/de/414/claudegaramond.html
http://www.linotype.com/414-12286/worksandsamples.html
Book:
„Just my Type“ by Simon Garfield
GILL (SANS)
The most favourite sans serif version of the Gill, the Gill Sans,
is one of the oldest modern sans serif fonts that is applied until this day.
Sans serif fonts already existed in old Rome, however
a new wave came up in 1898 with the “Akzident Grokesk”
in Germany, whereupon emerged further
modern versions in other European countries.
This was accomplished in England by Edward Johnston
and Eric Gill.
Gill was born in 1882 in Brighton, England.
He studied at the Chichester Technical and Art School
and worked as sculptor, graphic artist und type designer.
In the 1920s Gill began to design sans serif fonts,
mainly for signs in the mountains of Wales
where he lived at that time. His friend Stanley Morison
charged him to create a similar font to those
he had invented before for a font company (Monotype).
The font he created hereupon was applied in many institutions
in Britain such as „BBC“, „British Railways“, „Church of England“
and several „Penguin“ books.
It is not hard to understand why his designs where widely admired
and used in the contexts they were and still are,
as sans serif fonts in general have the ability to look traditional
without being overloaded.Gill Sans in particular
is quite serious but at the same time
it shows humanist characteristics and calligraphic variations .
What is special about this font is, that it based on
roman type face structure and was geometrizised afterwards.
This method helps creating a very elegant but straight
effect, it has a clarity of line yet is still playful, stable but vivid.
Furthermore there is the strong stroke contrast.
It´s exciting, open and elegant.
Gill, as many artists, was an ambivalent character.
With his most famous font he significantly influenced the type world,
that of England in particular and represents an example
for many typographers worldwide.
Regarding the estimation of his own talents and importance
he was known as modest and saw himself more
as a stone carver than as a typographer.
All the less comprehensible appears his private life;
Narratives about sexual debauchery with his daughters
and his dog can be quoted from his diaries.
A ruthless, boundless eagerness to experiment
without conscience seems to be, in macabre terms,
the basis for both his excesses and his oeuvre.
Sources
Internet:
http://www.google.com/imgres?imgurl=http://www.identifont.com/samples/adobe/GillSans.gif&imgrefurl=http://www.identifont.com/show%3FMB&h=288&w=432&sz=13&tbnid=zJc3Od2WeIVfvM:&tbnh=83&tbnw=124&zoom=1&docid=tsKTyufFLxjs1M&sa=X&ei=wZwzT__aKsay0QWn_fGRAg&ved=0CFMQ9QEwBA&dur=166
http://www.100besteschriften.de/9_Gill+Sans+%5BUpdate%5D.html#a9
http://www.ericgill.com/index.php
www.linotype.com/de/391/ericgill.html
http://www.linotype.com/391-20023/worksandsamples.html
Book:
„Just my Type“ by Simon Garfield
2. An environmental sign system for way-finding: “Parkleitsystem“
For the German word „parkleitsystem“ I came upon different translations
in the course of my research, such as „Parking Management System“, „car park guidance system“ „car-park routeing system“ and „Parking guidance and information (PGI) systems“ and I´m not sure which is the correct one since I could not really find suitable information of non-German or Austrian origin. That´s why I will call it „guiding system“ only in the following text in favour of easiness.
However, I will describe hereafter the function of two examples of this system and analyse the strengths and weaknesses in their concepts.
The traffic caused by drivers looking for a parking space contributes significantly to city centre traffic. By implementing guiding systems they try to stem this and to also prevent traffic around parking spaces and car parks.
The aim of such a system is to guide drivers towards an empty parking space.
This happens in form of scoreboards that can me dynamic, which means they are electronic and are able to provide information about vacant places.
In car parks or on parking spaces are detected by counting the entering and leaving vehicles. The information about the vacant spacees are transmitted to a computer that forwards them to the boards.
There are car park-owned systems, but also cross-linkings of different parking possibilities within a town or area.
This guiding system is maybe not about a typical wayfinding system because it is not its task, as for instance with a map, to guide a person to his particular place of interest ( the location of this place is known here already in most cases).
In fact it serves to indicate if and where exactly there are spaces near that place and to set the persons destination hereby.
The actual way-finding takes place indirectly, the destination depends on the conditions.
Here you can see some examples of guiding systems in the inner city traffic:
Example from Wien (Vienna), Austria
Example from Bad Ischl, Austria
The examples of Wien and Bad Ischl look quite similar; every place to park is marked in a different colour, the direction in which it is located is of course indicated by arrows and a digital (dynamic) display provides information about the number of vacant car space.
The board in the Wien-example also shows the distance to the particular place.
It is not clearly apparent from the image because they are shot from different perspectives, but the Wien-board seems to be smaller and quite confusing. That may as well be due to the fact that two of the parking spaces in this example are coloured in the same tone and the third space in a second tone,
without perceptible reason. This could have an irritating effect on the driver.
Example from Kempten, Germany
Example from Schwetzingen, Germany
In the german examples there is no colour difference between the single parkings, instead, the digital number comes better to its own. One could discuss about which version is the better one, in any case there is not shown any distance to the parking like in most oft he examples before, which makes the board more clear but which is actually more of a disadvantage in spite of that.
Example from Flensburg, Germany
In the example of this car park gateway it is not indicated how many parking spaces are still available. The only dynamic information given is „frei“ (vacant).
Hypotheticaly there could be a driver that occupies the last space within 10 seconds after your own entering into the car park and you realize it only after leaving the car park.
In summery it can be said that if the scoreboards are designed clearly and include all necessary information it is a useful system.
The system described above deals with the inner city traffic and the signing in front of car parks.
But especially inside of some car-parks you can find more innovative systems:
With the help of ultrasonic sensors the amount of vacant parking spaces are measured instead of counted. The arrows on a dynamic display at the ceiling above the lane point in three different directions each; left, right, straight ahead and signalize the free rows to the entering cars. Is a row completely occupied, the indicator lamp of one arrow goes off.
Example of Munich, Germany
This procedure assures a lot of advantages like organising processes to be quicker and more smoothly, so that the occupancy might even increase. The cost for systems like that could increase as well, though due to maybe more expensive technology and could be reflected in the ticket prices.
Sources:
http://de.wikipedia.org/wiki/Parkleitsystem
http://www.forster.at/Car-park-routing-systems.206.0.html?&L=2
http://www.munich-airport.de/de/consumer/anab/auto/parken/tipps/index.jsp
http://www.mobility.siemens.com/mobility/global/Documents/de/road-solutions/parking-management/intelligent-parking-solutions-de.pdf
http://www.siemens.de/staedte/referenzprojekte/Seiten/pls-flughafen-muenchen.aspx
3. Animation This essay outlines the emergence of moving image, lists the achievements of the early pioneers in animation, contrasts this to the way that animation is used nowadays, especially with regard to design contexts and suggests how it could develop in the future.
Animation, derived from the Latin word “animare“: “to make alive“, is defined as the ensoulment of a lifeless picture, more specifically the techniques that enable the illusion of a moving image in the viewers eyes by showing a sequence of single pictures with a rate of 24 pictures per second.
Moving images weren´t suddenly there, there was not THE invention that allowed the production of animation and changed the world overnight.
Instead, a long and exciting development starting with the early human wish to show movement in pictures, via easy and more complicated gadgets for generating and playing primal animation, up to the diversity of results and possibilities of production that exist today.
On the basis of millenniums -old cave paintings were animals were sometimes shown with four pairs of legs instead of two, one can deduce that the want for retaining movement was with the people very early.
Indeed there were options to project pictures from the 17th century on: the „laterna magica“, an early projecting device whereby it was possible to lead a picture band between a lens and a light source, permitted this.
However it was the 19th century that brought the people closer to the fulfilment of their wish of moving images with the help of technical innovations.
In 1824 the scientist Peter Roget researches the retina and discovers that static pictures with small changes within the sequence that are shown quickly after each other seem to move for the human eye. Many inventions base of this knowledge, such as the flip book that amused the people these days a lot or the „Thaumastrope“ of 1825 created by the scientist John A. Paris. It concerns a disc with two different pictures on each side, in his example a bird and a cage. The disc has a cord on each side and is twisted quickly. The two pictures melt together visually and it seems that the bird was sitting inside the cage.
A further step in the direction of the present-day film was made in 1932 by Antoine Ferdinand Plateau with his „Phenakistiscope“. On a rotary disc are drawings of phases of movement, arranged in circle formation. Between the drawings there are slots. When the disc is twisted around, the viewer watches through the slots from behind onto a mirror that is placed in front of the disc. For him, the drawings on the mirror seem to move.In 1834, this invention is extended to a rotary barrel with watching slots.
To really bring the film to the state where it is today, there was need for another big technical step:
In the years 1889 and 1890 William K. L. Dickson, senior engineer at Thomas Edison, created the „Cinetograph“. With the help of this machine films on celluloid were directed along an objective with a cog mechanism and exposed photo-mechanically at the same time.
The „cinetoscope“, developed in the following two years by Dickson as well, served as reproducing device for the cinetograph. It was a peep box, initially made to serve one person, where you are meant to look through an eyepiece to watch the celluloid-film moved by an electromotor, running in an infinite loop.
In 1995 finally follows the hour of birth of the cinema, when the brothers Louis and Auguste Lumière project their first films in front of the paying public.
After the technical foundations for moving image in general were set, the development not only of film but also of animation took its course;
In 1906 the first animated film "Humorous phases of funny faces" was made by
J. Stuard Blackton. He created this film by drawing on a blackboard, filming the drawing, stopping the film, erasing the drawing again to draw the next piece which he filmed again and so on.http://www.youtube.com/watch?v=8dRe85cNXwg
In 1914 an animated film was produced by Winsor McCay called "Gertie, the trained Dinosaur". It was made of 10,000 drawings which amazed the people
these days a lot.
Walt Disney who also created the even more successful „Snow White and the seven dwarfs“ in 1937, the first full length animated film.
http://www.youtube.com/watch?v=UY40DHs9vc4
http://www.youtube.com/watch?v=ZoihEMe9b18
Today there is a multitude of possibilities to create an animation. The single pictures can me drawn ( 2-D animation), calculated by computer, where vector data about an object is collected and the look and movement is calculated by the computer based on this data(computer-animation) or photos. With the help of photographs it is possible to produce stop-motion films with clay-figures or dolls that are only slightly moved for every single picture.
After the pioneers had established animation as a medium of entertainment and it didn´t evoke a big shock anymore when shown, animated films had to convince from a content point of view.
But why is animation made anyway when it was possible to state the same message with a live-action film and often much less complicated?
The animated series „The Simpsons“ is with its 22 years running time the longest broadcasted animation series and comedy series in the USA.
Why is it just an animation series that is so successful in this field?
Amongst other things people appreciate its unaltered standard of humour and the ever same and ever same aged characters. Sole in an animated show these thing are possible, let alone the recognition value produced by the characteristic yellow skin.
But also the fact that it was the first tv-series to apply comic art together with socio-critical wit in that extend gives it a unique selling point in contrast to series of similar content and the same time of origin. Hereby the show has something steady that explains its long lasting success.
Yet here it´s not right to say the technical implementation has become unimportant to the audience, despite of the beloved characters visually and textually.In those two decades of „The Simpsons“´s running time
the visual appearance has changed time and again; from shaky movements and defective outlines toward a clean looking animation full of effects.
This leads me to the conclusion that a good piece of animation convinces by the balance between a wow-effect due to technical highlights and the originality oft he other visual (and contentswise) factors.
The work of the publicity-shy artist „Blu“ combines both aspects well. The 2-D-animations make alive his witty graffiti figures and suggest space with optical illusion.http://www.youtube.com/watch?v=uuGaqLT-gO4
With regard to animation that functions as visual communication there is a lot of interesting work today.
While especially animated films try to look as realistic as possible, for example avatar where live-action film and animation become one and the animation looks incredibly real, there are design groups and single designers and artist that create both commercial or more individual work that looks rather handmade and emphasizes the element of creating. The short film „Procrastination“ by Johnny Kelly is made with a diverse range of animation methods, from all kinds and styles of drawing to variations of stop motion, only there is no classical computer-animation involved. Objects transform into other objects within the film, colour schemes change and the techniques as well. In the film they say : (procrastination) “It´s not being able to decide what way to do something.“ , which is clearly underlined by the way the film is made optically.
http://www.youtube.com/watch?v=7hiAd6csMs4
When it comes to more commercial work, the oevre of „Why Not Assotiates“ is made quite differently: there is only one technique used and the films are less colourful. But one thing both artworks have in common: the viewer can follow a process of creating. The figures here for example are drawn, wiped out and drawn over again. Also this has the handmade character as well, no matter if the client is the BBC or the army.Also they experiment with texture and material.
http://www.whynotassociates.com/en/motion.php
Another thing that can be seen in the work of „Why Not“ but also in other animators work these days is typography that is placed into live-action film. It is not just put there somewhere but becomes part of the landscape.
http://www.whynotassociates.com/en/nike_heroes/nike_heroes.php
In general there is a lot of experimentation with type and quite an unrestricted dealing with type can be seen and it seems to become more important as a part of illustration, especially in commercial animation. Sometimes people succeed in really animating the meaning behind the words,
http://www.youtube.com/watch?v=I7og0pFn5JA&feature=related
...but most of the times it is just made to look good.
Since this experimentation with type goes far already, I don´t know to which extend it is possible to expand it in the future, but to apply type in a way that it really expresses a message could be extended in any case.
With everything that is possible in the context of animation nowadays it is necessary to bethink oneself of what one really want to say; content, artistic and technical means must go hand in hand and support each other. Thereby basic reflections about graphic should come first and one should not exhaust frantically all available technical means only because it is possible. What doesn´t convince statically because of its design won´t make it in dynamic form. Effects applied in a not fully developed way indeed appeal unprofessional as well.
Animation still inheres the astonishment of the people despite of its long history. This effect originally came from the technical wonder first, but the audience is spoiled and more demanding now. Maybe the people are fed up with very clean and perfect implementation of animation and ask for something that looks more "made" and crafted again as well as a design that dares more, wheather in form of a static graphic or a moving image.
Sources:
http://de.wikipedia.org/wiki/Animation
http://www.mal.ch/context/data/ArbeitAnimation.pdf (p.12 ff)
http://de.wikipedia.org/wiki/Laterna_magica
http://www-is.informatik.uni-oldenburg.de/~dibo/teaching/mm/buch/node40.html
http://www.dma.ufg.ac.at/app/link/Grundlagen%3A3D-Grafik/module/14100?step=1
http://www.animationproject.org/classics/geschich/geschani.htm
http://www.animazing.com/gallery/pages/history.html
http://de.wikipedia.org/wiki/Phenakistiskop
http://de.wikipedia.org/wiki/Kinetoskop
http://de.wikipedia.org/wiki/Kinetograph
http://www.planet-wissen.de/kultur_medien/kino/filmtricks/laterna_magica.jsphttp://www.orlandomagazine.com/Blogs/The-Bridal-Blog/June-2011/FlipBook.jpg
http://upload.wikimedia.org/wikipedia/commons/thumb/9/9d/Laterna_magica_Aulendorf.jpg/220px-Laterna_magica_Aulendorf.jpg
http://www.fuesslin.de/uploads/pics/thauma_01.jpg
http://www.lumen.nu/rekveld/wp/wp-content/uploads/2007/04/phenakistiscope.jpg
http://s299.photobucket.com/albums/mm318/KCJF/?action=view¤t=phenakistiscope.jpg&sort=ascending
http://www.victorian-cinema.net/cinematographwrench.jpg
http://members.chello.nl/a.wichmann/birtacproj.jpg
http://www.youtube.com/watch?v=8dRe85cNXwg
http://www.youtube.com/watch?v=UY40DHs9vc4
http://www.youtube.com/watch?v=8nfEIHcsR8c
http://www.youtube.com/watch?v=ZoihEMe9b18
http://www.youtube.com/watch?v=uuGaqLT-gO4
http://www.youtube.com/watch?v=7hiAd6csMs4
http://www.whynotassociates.com/en/motion.php
http://www.avatarmovie.com/
To go beyond what is required by law in terms of acting socially responsible, that implies leading a company exemplarily in both ecological and personal policy regards and/or to be committed for social projects with your company.
This phenomenon comes to the fore of public focus and is demanded by the clients more and more, since populace becomes more undeceived and is more discerning than ever.
Indeed there are companies that started very early and with the beginning of their existence to follow CSR (Corporate Social Responsibility)-principles, be it reasons of personal motivation of the founders or owned to their economical foresight.
One company where this applies to is the detergent producer “Frosch” (meaning “frog”), established in 1986
With its policy to bring out bio-degradable products inspired by household remedies and to package them in an environmental friendly way, Frosch was a pioneer in Germany.
They were the first phosphate-free washing up products of that time and they were and still are produced resource-efficient. This fact found a lot of favour within the society, particularly since a huge ecological movement took place
in Germany in the 1980s.
Since the time of company foundation the fabrication and the collateral activities are extended permanently, including a company-owned water treatment plant, own animal rights group and countless campaigns. The firm received awards again and again and Frosch still is a brand of trust in the country.
That company however that came to my mind at first by thinking of CSR is a smaller supermarket chain in Germany, “Marktkauf”.
I didn´t find any information on the question if the firm sees itself in this category, but the fact that at a buying in a Marktkauf-store you receive only paper bags every since I remember was always the shop´s specialty, without that there ever was a lot ado about the environmental friendliness from the markets side.
It may only be a small detail, but if it pertained all supermarket chains it would mean an enormous reduction of plastics in the world.
The ice cream producer “Ben & Jerry´s” is known for its social commitment.
The “Climamte Change College” launched and financed by the firm trains climate ambassadors and the “Caring-Dairy”- programme campaigns for sustainable dairying.
Though the slogan “All natural Ben & Jerry's“ got criticised a lot because most of the ice cream kinds contained artificial additives and the slogan had to be changed. At least all ingredients are fair-trade that are available as such.
Once I myself work as a communication designer, there are several points for me to mind when it comes to social responsibility, whether in terms of ecological aspects, in personnel policy or in dealing with the audience.
Making design uses up resources, but I can influence in what extend.As a packaging designer for example I can ensure to use as much recyclable material as possible and reduce material in general, especially plastic.
In the best case the pieces of work are durable, long-lasting and suitable
for reuse.
But also as a graphic designer in print I could waive toxic colours.
In each instance it´s advisable to work material-efficient, energy-efficient,
with low pollution and low waste.
Also my whole working process can be socially acceptable.
One thing I could do is not paying starvation wages to interns that I exploit instead of employing a proper co-worker.In the context of design authorship I can initiate campaigns that inform about important issues and in case I can afford it someday, I can reject commissions from companies that act highly socially irresponsible and even concentrate on firms that lay emphasis on important topics of live.
Csr in Design considers the working and living conditions of the people involved in the product developing process and preserves the habitats of humans and animals.
Sources:
Sources:
5. Two designers/designgroups with strong CSR
It seems quite challenging to analyse a designer or design-group that is equipped with a strong ethic approach to design, if you don´t have a very concrete idea in mind at the outset about what person you want to talk and to discover such a person or group by research. What is easy to find are blogs and websites on sustainable design...
http://ambalaj.se/blog/http://bestdesignoptions.com/?p=4158
http://www.behance.net/gallery/GreenYard-Winery--Sustainable-Package/463390
http://style-files.com/category/eco-design/http://www.lilligreenshop.de/stop-the-water-shampoo.html
http://www.sebastianbackhaus.de/2009/10/23/artenvielfalt-oder-einheitsbrei-fiktive-kampagne-zum-thema-biodiversitat/http://www.bundespreis-ecodesign.de/de/winner.html
http://www.designboom.com/contest/view.php?contest_pk=21&item_pk=20548&p=3
http://designreviver.com/articles/eco-friendly-packaging-concepts/
http://www.thedieline.com/blog/2012/1/24/a-la-eco.html
…there you find plenty of products, a lot of very interesting eco-packaging
..and also campains, but very rarely I came to know, there are the names of the designers mentioned and if yes, then they often did one CSR-worthy work but don´t define themselves as a kind of social designer. I went in circles a lot within my research without useful outcome.
In the end I checked out the website “Three trees don´t make a forrest” (one of the uni-link-recommodations) and found out that it is a union of three design-formations (one of them more a consultancy for other eco-designers) that provide information for non profit for designers who want to do sustainable work.
The first design-agency that I like to amplify is “Thomas.Meatthews“.
The homepage of their website is made quite attractively,
clear but not boring. The other pages however are very different from
it and don´t delight me as much – there is to much different,
competitive kind of type.
http://thomasmatthews.com/index.php/about/philosophy/
clear but not boring. The other pages however are very different from
it and don´t delight me as much – there is to much different,
competitive kind of type.
http://thomasmatthews.com/index.php/about/philosophy/
I like most of their logos except for „The Lift“. Confusing shape, even if you know what it stands for it doesn´t feel any better.
One can see that their real dedication is for both installation and commissions that are about issues of sustainability.
What is really an interesting project is what Thomas.Matthews did at the Royal Collage: They let the staff and students collect their plastic waste from lunch and made an installation out o fit. I think the idea is really inventive and the outcome looks amazing, shows you the impact something simple and every-day like a canteen meal has on the environment and it gets you think
about your own social responsibility.
I especially like the concept of their „No Shop“. The idea is as simple as brilliant
to actually build a shop and call it „No Shop“ to highlight the international
no-shop-day.
Their work convinces through strong concepts rather than arty look, so they can achieve the best outcomes when they are one with the topic they work on.
The next design company I´m talking about is “Airside”.
It is about a team of three designers that have a strong bias to animation with good character design, and a very humorous approach to their often ecological subject areas of work.
I met them before in December when they held a speech about their team
and I think the wittiness of the designers is mirrored in what they create.
One animation Airside made was about global warming for an
Al Gore-campaign.
I like it because it is quite sad and emotional, regards the situation with the eyes of that one penguin, it doesn´t tell you what you should do, just changes your perspective and makes you think. Nevertheless I find the film a bit too long for that bit of message.
It is about a team of three designers that have a strong bias to animation with good character design, and a very humorous approach to their often ecological subject areas of work.
I met them before in December when they held a speech about their team
and I think the wittiness of the designers is mirrored in what they create.
One animation Airside made was about global warming for an
Al Gore-campaign.
I like it because it is quite sad and emotional, regards the situation with the eyes of that one penguin, it doesn´t tell you what you should do, just changes your perspective and makes you think. Nevertheless I find the film a bit too long for that bit of message.
The advertising film Airside did for the small ads market “Gumtree”
is the cutest thing I´ve ever seen. The mixture of live-action film and animation is successful and the idea to literally stick an object on a tree and grab it from there is brilliant in that context. But most striking for me are the lovely drawn characters whose needs and conditions are presented so stereotypically. The warm atmosphere they create also due to the squeaking noises they produce when they are beside themselves with joy also emphasizes the aspect of solidarity in your area and so they even manage to add a social aspect to this effectively commercial business.
Even if it differs a lot from the rest of their work because it is not about ecological issues but about a complex of problems in society, I like the film “The Power Gap”. It must have been really hard to include a lot of this partly dry information in such a short film, illustrate it in an appropriate way and explain it in very easy words.
is the cutest thing I´ve ever seen. The mixture of live-action film and animation is successful and the idea to literally stick an object on a tree and grab it from there is brilliant in that context. But most striking for me are the lovely drawn characters whose needs and conditions are presented so stereotypically. The warm atmosphere they create also due to the squeaking noises they produce when they are beside themselves with joy also emphasizes the aspect of solidarity in your area and so they even manage to add a social aspect to this effectively commercial business.
Even if it differs a lot from the rest of their work because it is not about ecological issues but about a complex of problems in society, I like the film “The Power Gap”. It must have been really hard to include a lot of this partly dry information in such a short film, illustrate it in an appropriate way and explain it in very easy words.
In general I feel that most of the films are too long and also a bit keyed up, maybe a little too sweetish as well, so that it seems already nearly non-credible.
But you forgive them because their work and especially their animations are amiable and funny in a smart way at the same time. The loveliness of the characters plus the message they communicate in a humorous but very comprehensive way helps the audience a lot to identify with the idea behind the films.
But you forgive them because their work and especially their animations are amiable and funny in a smart way at the same time. The loveliness of the characters plus the message they communicate in a humorous but very comprehensive way helps the audience a lot to identify with the idea behind the films.
Sources:
http://threetreesdontmakeaforest.org/
http://thomasmatthews.com/
http://www.airside.co.uk/
http://threetreesdontmakeaforest.org/
http://thomasmatthews.com/
http://www.airside.co.uk/
6. PACKAGINGPackaging occupies, even if it might sound peculiar, a huge amount of our environment just by filling the shelves of supermarkets and stores.
Due to this fact a designer of product packaging has the power and responsibility to shape their surrounding immensely.
Beauty and challenges
Generally spoken a packaging designer has to create a piece of design that advertises, gives a promise about its content, informs, stores, simplifies the application, facilitates the transport of is content and sometimes even preserves. Depending on the requests of client it fascinates by shape and graphics or is rather unobtrusive and convinces through functionality and clear, discreet surface embodiment.
Packaging design comprises mainly two essential features:
to enclose something and to inform about its content.
Both aspects are subject to rules – the “enclose”, the actual package should look as aesthetic as possible, depending on the product more or less novel in terms of shape, it shall protect the content and support it in terms of format, meaning that there is not too much or too little package space around the content. What “decorates” the package, the appropriate graphic, is anon subject to the common criteria of graphic design like composition, choice of colour and typography. Both these elements, design of the shape and design of the graphic in turn depend on each other.
The graphic can be subject to strong restrictions from the corporate design.
In this case the 3-d-design has to ensure that these brand-design elements show to advantage well. Is this strong limitation from the distributing firm not the case and the product is allowed to be packaged exotically shaped, it may be that the packaging becomes so eccentric that for its graphic jacked many reflections are necessary. Shape of the package and graphic can compete quickly, but they are meant to complement each other perfectly.
For me packaging design is captivating in a way that I cannot completely explain. One reason may be that it combines the beauty of graphic-design and something tangible – it is 2-dimesional design and yet still you have something in your hands to be discovered from several sides.
I may also be that packaging design arouses the association of unpacking
in me like with presents and with it the curiosity to check what is inside.
When examining a product-package you see that it has several sides of different importance what can hamper the arrangement of the package surface. It is necessary to outline dry information like nutrition facts and ingredients what often comes with challenge to place a great amount of text on small space. These information faces of the packaging have a very different impact then the mostly conspicuous and more reduced designed front side.
It generally exhibits much less text and, due to large quantity of design freedom in compared to the information sides, normally represents the “pretty” side of the packaging. This is designed much more emotional, it is actually a piece of advertising. With the information faces one is much more limited as a designer. Nevertheless these different sides must fit together stylistically as are part of one and the same design object.
Another important aspect is that packaging has to scream to set itself apart from its competitors and it is not enough for it to look good isolated, it has to differ from its direct shelf neighbours. Furthermore, this distinction has to happen within seconds because customers in a supermarket don´t take the time to decide for or against a product for minutes each.
Due to this fact a designer of product packaging has the power and responsibility to shape their surrounding immensely.
Beauty and challenges
Generally spoken a packaging designer has to create a piece of design that advertises, gives a promise about its content, informs, stores, simplifies the application, facilitates the transport of is content and sometimes even preserves. Depending on the requests of client it fascinates by shape and graphics or is rather unobtrusive and convinces through functionality and clear, discreet surface embodiment.
Packaging design comprises mainly two essential features:
to enclose something and to inform about its content.
Both aspects are subject to rules – the “enclose”, the actual package should look as aesthetic as possible, depending on the product more or less novel in terms of shape, it shall protect the content and support it in terms of format, meaning that there is not too much or too little package space around the content. What “decorates” the package, the appropriate graphic, is anon subject to the common criteria of graphic design like composition, choice of colour and typography. Both these elements, design of the shape and design of the graphic in turn depend on each other.
The graphic can be subject to strong restrictions from the corporate design.
In this case the 3-d-design has to ensure that these brand-design elements show to advantage well. Is this strong limitation from the distributing firm not the case and the product is allowed to be packaged exotically shaped, it may be that the packaging becomes so eccentric that for its graphic jacked many reflections are necessary. Shape of the package and graphic can compete quickly, but they are meant to complement each other perfectly.
For me packaging design is captivating in a way that I cannot completely explain. One reason may be that it combines the beauty of graphic-design and something tangible – it is 2-dimesional design and yet still you have something in your hands to be discovered from several sides.
I may also be that packaging design arouses the association of unpacking
in me like with presents and with it the curiosity to check what is inside.
When examining a product-package you see that it has several sides of different importance what can hamper the arrangement of the package surface. It is necessary to outline dry information like nutrition facts and ingredients what often comes with challenge to place a great amount of text on small space. These information faces of the packaging have a very different impact then the mostly conspicuous and more reduced designed front side.
It generally exhibits much less text and, due to large quantity of design freedom in compared to the information sides, normally represents the “pretty” side of the packaging. This is designed much more emotional, it is actually a piece of advertising. With the information faces one is much more limited as a designer. Nevertheless these different sides must fit together stylistically as are part of one and the same design object.
Another important aspect is that packaging has to scream to set itself apart from its competitors and it is not enough for it to look good isolated, it has to differ from its direct shelf neighbours. Furthermore, this distinction has to happen within seconds because customers in a supermarket don´t take the time to decide for or against a product for minutes each.
A few impressions of what I like
...not that! Practical but ecological nonsense.
I really like these products designed for Jamie Oliver: fresh, jung, creative, modern yet warm.
Brutal typography vs soft illustration - and still a clean an captivating design.
Briliant idea, expensive production.
Social responsibility and design trend
Today packaging design has to handle plenty of other challenges than a few years ago; with increasing global environmentalism af the audience and climate requirements that higher the production cost, packaging designers and packaging engineers are encouraged to create preferably ecology-minded, low-priced but at the same time attractive packaging because competition between the products is bigger than ever which will most probably not abate in the next decades.
This circumstance fits in the current taste of the branche:
Until a few years ago packaging design became intrusive in terms of variety of elements that with some little words held in simple typography and a two-colour-print a product stood out of the mass clearly and had a much greater impact. Sometimes you are louder by being very quiet.
By now, this reduced way of designing the packages is standard; with packaging design there is no difference here to other design disciplines – all trends appear in circles.
Today packaging design has to handle plenty of other challenges than a few years ago; with increasing global environmentalism af the audience and climate requirements that higher the production cost, packaging designers and packaging engineers are encouraged to create preferably ecology-minded, low-priced but at the same time attractive packaging because competition between the products is bigger than ever which will most probably not abate in the next decades.
This circumstance fits in the current taste of the branche:
Until a few years ago packaging design became intrusive in terms of variety of elements that with some little words held in simple typography and a two-colour-print a product stood out of the mass clearly and had a much greater impact. Sometimes you are louder by being very quiet.
By now, this reduced way of designing the packages is standard; with packaging design there is no difference here to other design disciplines – all trends appear in circles.
(1941 looks rather contemporary...)
At the moment the drift is going further in the direction “clean” optically and sometimes quite playful illustrated, especially a playful use of typography can be observed. People were sick of seeing what is literally inside the package on its front page with photography-elements that have not much graphic quality and the use of too many colours.
I personally like this trend but find it nearly exhausted already. I´m curious about how long it will last, because the former trends will come up again, this rule of design even climate change won´t change so quickly.
With respect to this matter, designers have one other important aspect of responsibility to consider nowadays as a producer of packaging; the carbon footprint, meaning the co2-balance. This way of measuring the total green-house-emissions that are caused by the industrial production of something,
is criticised because there is no internationally accepted definition.
Nevertheless it presents a helpful method of identifying the impact on the climate that products and services and all other events in the everyday life of humans have and so to help minimise climate change.
One measure that falls into the category of social responsibility, indeed in the context of consumer protection, is the traffic light labelling.
With the help of this system the consumer is offered the possibility to immediately see how much percent of for example fat, sugar or salt a product contains, like it is shown on the back of packages internationally anyway, but here these figures are outlined on the front face and are additionally judged to be “low”, “medium” or “high”, emphasised by the colours of a traffic light.
I personally have no objections to this way of labelling, however I don´t consider it to be necessary either.
With the conventional nutrition information per 100grams one already gets an appropriate overview about the food value of the product and can consider for themselves if it is too high for them or not.
The autonomy to turn a product around and look onto a chart is reasonable for every customer of a supermarket.
What is in contrast absolutely appropriate is that it is for example forbidden to just lie on a label. A good example of this is presented by the imitation-cheese affair. It is about a cheese-like make based on vegetable oil that helps producers of instant meals to save cost by using it instead of real cheese.
Fabricants try to trick customers and make them think they buy original cheese made of milk, which is much more expensive to produce, and sell them the imitation instead. What customers can trust in is the fact that on such a package containing fake cheese, there will never appear the word “cheese”, because it is a lie and forbidden by law. They may write things like “creamy”, “gouda-taste” etc, but not that it is cheese or gouda.
At the moment the drift is going further in the direction “clean” optically and sometimes quite playful illustrated, especially a playful use of typography can be observed. People were sick of seeing what is literally inside the package on its front page with photography-elements that have not much graphic quality and the use of too many colours.
I personally like this trend but find it nearly exhausted already. I´m curious about how long it will last, because the former trends will come up again, this rule of design even climate change won´t change so quickly.
With respect to this matter, designers have one other important aspect of responsibility to consider nowadays as a producer of packaging; the carbon footprint, meaning the co2-balance. This way of measuring the total green-house-emissions that are caused by the industrial production of something,
is criticised because there is no internationally accepted definition.
Nevertheless it presents a helpful method of identifying the impact on the climate that products and services and all other events in the everyday life of humans have and so to help minimise climate change.
One measure that falls into the category of social responsibility, indeed in the context of consumer protection, is the traffic light labelling.
With the help of this system the consumer is offered the possibility to immediately see how much percent of for example fat, sugar or salt a product contains, like it is shown on the back of packages internationally anyway, but here these figures are outlined on the front face and are additionally judged to be “low”, “medium” or “high”, emphasised by the colours of a traffic light.
I personally have no objections to this way of labelling, however I don´t consider it to be necessary either.
With the conventional nutrition information per 100grams one already gets an appropriate overview about the food value of the product and can consider for themselves if it is too high for them or not.
The autonomy to turn a product around and look onto a chart is reasonable for every customer of a supermarket.
What is in contrast absolutely appropriate is that it is for example forbidden to just lie on a label. A good example of this is presented by the imitation-cheese affair. It is about a cheese-like make based on vegetable oil that helps producers of instant meals to save cost by using it instead of real cheese.
Fabricants try to trick customers and make them think they buy original cheese made of milk, which is much more expensive to produce, and sell them the imitation instead. What customers can trust in is the fact that on such a package containing fake cheese, there will never appear the word “cheese”, because it is a lie and forbidden by law. They may write things like “creamy”, “gouda-taste” etc, but not that it is cheese or gouda.
In short
Packaging design surrounds us from everywhere and it is always pleasant to perceive felicitous examples of it in the mass of indifference and even dreadfulness.
To create a throughout auspicious piece always involves with several obstacles.
All the more satisfying is it to then see the result, to be able to turn in around and feel it between your fingers. This is nearly as precious as the packaging designer´s chance to make the world a little better and more beautiful.
Sources:
http://www.heintschel.de/japan/Pressemailing_Japan-WS_11_2011.html
http://www.designcouncil.org.uk/about-design/Types-of-design/Packaging-design/
http://www.designcouncil.org.uk/about-design/types-of-design/graphic-design/packaging-graphics/
http://www.heintschel.de/japan/Pressemailing_Japan-WS_11_2011.html
http://www.designcouncil.org.uk/about-design/Types-of-design/Packaging-design/
http://www.designcouncil.org.uk/about-design/types-of-design/graphic-design/packaging-graphics/
4http://www.google.com/imgres?um=1&hl=de&client=firefox-a&rls=org.mozilla:de:official&biw=1280&bih=582&tbm=isch&tbnid=v7i7CqU2gPEgdM:&imgrefurl=http://eatinout.blogspot.com/2006/11/party-cubes.html&docid=ev5sQ1XIttv0rM&imgurl=http://i113.photobucket.com/albums/n219/eatinout/Party%252520Cubes/DSC02043.jpg&w=500&h=375&ei=FONTT4CdCYTx8QPHg_DwBQ&zoom=1
http://www.google.com/imgres?um=1&hl=de&client=firefox-a&rls=org.mozilla:de:official&biw=1280&bih=582&tbm=isch&tbnid=XPt6G7jSNOCr0M:&imgrefurl=http://hirokofood.blogspot.com/2007/07/bel-cube.html&docid=1QVGL6pKJbMd0M&imgurl=https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir_qqCspXTOfNeR1vlbCP29XbMQM6MsIoQAaaHTwgrOrO3v0hZElbtr-A_hBgiDzMyvih1SlHBjYS5s6k7-6BAxTFrE7Vzjrz56OLEpRIYCuahQoFtzCeYuHiy7gwCZyrc35a_rY0BTtjl/s320/Paris2%252B(27).JPG&w=320&h=240&ei=FONTT4CdCYTx8QPHg_DwBQ&zoom=1&iact=rc&dur=266&sig=102471863567035785780&page=2&tbnh=127&tbnw=184&start=22&ndsp=25&ved=1t:429,r:15,s:22&tx=94&ty=70
http://www.thedieline.com/
https://www.google.com/search?q=packaging&hl=de&client=firefox-a&hs=Y7f&rls=org.mozilla:de:official&prmd=imvnsbr&bav=on.2,or.r_gc.r_pw.r_qf.,cf.osb&biw=1280&bih=582&um=1&ie=UTF-8&tbm=isch&source=og&sa=N&tab=wi&ei=BfNTT-qGN8TChAe7spGyCghttp://foodwatch.de/english/traffic_light_labelling/index_ger.html
http://www.youtube.com/watch?hl=de&v=a4ykadZprPs
http://www.bmg.gv.at/cms/home/attachments/3/5/2/CH1252/CMS1167208341459/begriffsbestimmung_kaese1.pdfhttp://www.google.com/imgres?um=1&hl=de&client=firefox-a&rls=org.mozilla:de:official&biw=1280&bih=582&tbm=isch&tbnid=v7i7CqU2gPEgdM:&imgrefurl=http://eatinout.blogspot.com/2006/11/party-cubes.html&docid=ev5sQ1XIttv0rM&imgurl=http://i113.photobucket.com/albums/n219/eatinout/Party%252520Cubes/DSC02043.jpg&w=500&h=375&ei=FONTT4CdCYTx8QPHg_DwBQ&zoom=1
http://www.google.com/imgres?um=1&hl=de&client=firefox-a&rls=org.mozilla:de:official&biw=1280&bih=582&tbm=isch&tbnid=XPt6G7jSNOCr0M:&imgrefurl=http://hirokofood.blogspot.com/2007/07/bel-cube.html&docid=1QVGL6pKJbMd0M&imgurl=https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir_qqCspXTOfNeR1vlbCP29XbMQM6MsIoQAaaHTwgrOrO3v0hZElbtr-A_hBgiDzMyvih1SlHBjYS5s6k7-6BAxTFrE7Vzjrz56OLEpRIYCuahQoFtzCeYuHiy7gwCZyrc35a_rY0BTtjl/s320/Paris2%252B(27).JPG&w=320&h=240&ei=FONTT4CdCYTx8QPHg_DwBQ&zoom=1&iact=rc&dur=266&sig=102471863567035785780&page=2&tbnh=127&tbnw=184&start=22&ndsp=25&ved=1t:429,r:15,s:22&tx=94&ty=70
http://www.thedieline.com/
https://www.google.com/search?q=packaging&hl=de&client=firefox-a&hs=Y7f&rls=org.mozilla:de:official&prmd=imvnsbr&bav=on.2,or.r_gc.r_pw.r_qf.,cf.osb&biw=1280&bih=582&um=1&ie=UTF-8&tbm=isch&source=og&sa=N&tab=wi&ei=BfNTT-qGN8TChAe7spGyCghttp://foodwatch.de/english/traffic_light_labelling/index_ger.html
http://www.youtube.com/watch?hl=de&v=a4ykadZprPs
http://www.bmg.gv.at/cms/home/attachments/3/5/2/CH1252/CMS1167208341459/begriffsbestimmung_kaese1.pdfhttp://www.google.com/imgres?um=1&hl=de&client=firefox-a&rls=org.mozilla:de:official&biw=1280&bih=582&tbm=isch&tbnid=v7i7CqU2gPEgdM:&imgrefurl=http://eatinout.blogspot.com/2006/11/party-cubes.html&docid=ev5sQ1XIttv0rM&imgurl=http://i113.photobucket.com/albums/n219/eatinout/Party%252520Cubes/DSC02043.jpg&w=500&h=375&ei=FONTT4CdCYTx8QPHg_DwBQ&zoom=1
http://www.pearlfisher.com/JamieOliver.htm?viewallow=1
http://www.google.com/imgres?start=102&num=10&um=1&hl=de&client=firefox-a&rls=org.mozilla:de:official&biw=1280&bih=582&tbm=isch&tbnid=0P-zq9VLDrG5rM:&imgrefurl=http://www.hiddengarments.cn/index.php/category/fashion-lifestyle/packaging-packing/page/9/&docid=siVL_KJBMZ9rBM&imgurl=http://www.hiddengarments.cn/wp-content/uploads/2009/10/am-pm-health-drink.jpg&w=538&h=650&ei=T6ZqT8ebDqnW0QXm2cHoBg&zoom=1&iact=rc&dur=399&sig=102471863567035785780&page=5&tbnh=140&tbnw=104&ndsp=27&ved=1t:429,r:11,s:102&tx=23&ty=96
http://www.google.com/imgres?um=1&hl=de&client=firefox-a&hs=8rF&sa=X&rls=org.mozilla:de:official&biw=1280&bih=582&tbm=isch&tbnid=7-fJKF2F3k-kBM:&imgrefurl=http://www.wrigley.com/global/brands/juicy-fruit.aspx&docid=rWfOD9Xan7EoAM&imgurl=http://www.wrigley.com/global/Images/packaging_juicy_fruit.jpg&w=258&h=394&ei=-aZqT7LpC8Oo0QX3-ajcBg&zoom=1&iact=hc&vpx=569&vpy=172&dur=3789&hovh=278&hovw=182&tx=107&ty=226&sig=102471863567035785780&page=2&tbnh=135&tbnw=88&start=21&ndsp=26&ved=1t:429,r:22,s:21
7.Advertising
Advertising should...
...inform, attract, convince, surprise, entertain, be creative, generate great ideas, differ, make a product look good, sometimes be funny and sometimes be serious.
Advertising may...
...exceed some borders, but also has to observe some rules.
Advertising should...
...inform, attract, convince, surprise, entertain, be creative, generate great ideas, differ, make a product look good, sometimes be funny and sometimes be serious.
Advertising may...
...exceed some borders, but also has to observe some rules.
Creative work always touches limits, especially when it tries to be novel.
In a society that has basically seen everything, this effect is not easily achieved.
Good design and especially good advertising has always been divisive, this is one of the principles of advertising. Controversies also keep a community thinking.
In a society that has basically seen everything, this effect is not easily achieved.
Good design and especially good advertising has always been divisive, this is one of the principles of advertising. Controversies also keep a community thinking.
Admittedly, advertising is no fine art. It may scandalise, but it´s about design and has to be made for the human, it is not made to disgust or
profoundly hurt somebody. Advertising that only tries to chock and
offers nothing more than that has no right to exist in my opinion.
In fact it´s hard to draw the line.
Nowadays people are informed more than ever. They neither let themselves be cheated nor impressed easily. Every single one of us has seen a lot, even if only on television, and expects to be surprised and stunned permanently.
The advertising industry reacts to this need, challenges itself and its past and also distributes advertisement via completely ...
...different channels.
Advertising space becomes more diverse and numerous.
This phenomena can get very annoying for the customer, because he sees and/or hears ads with every step he takes.
People nowadays are used to be confronted with advertising everywhere: on busses, in the sky, on TV and radio anyway.
Now it has conquered the own mobile phone and nearly every webpage you want to access. Advertising obtrusively fills every niche it finds.
I personally think that this occurrence has an inflationary effect on the absorbing capacity of a person for the information served.
The more you are exposed to advertising, the more it is part of every situation of your live, the more you get resistant to its stimuli.
But what shall the advertising industrial do than going more and more far?
What is every single company supposed to do when the compettiors have
taken over every part of everyday live, what to do than to float with the current? The only possibility is to strike a different note.
profoundly hurt somebody. Advertising that only tries to chock and
offers nothing more than that has no right to exist in my opinion.
In fact it´s hard to draw the line.
Nowadays people are informed more than ever. They neither let themselves be cheated nor impressed easily. Every single one of us has seen a lot, even if only on television, and expects to be surprised and stunned permanently.
The advertising industry reacts to this need, challenges itself and its past and also distributes advertisement via completely ...
...different channels.
Advertising space becomes more diverse and numerous.
This phenomena can get very annoying for the customer, because he sees and/or hears ads with every step he takes.
People nowadays are used to be confronted with advertising everywhere: on busses, in the sky, on TV and radio anyway.
Now it has conquered the own mobile phone and nearly every webpage you want to access. Advertising obtrusively fills every niche it finds.
I personally think that this occurrence has an inflationary effect on the absorbing capacity of a person for the information served.
The more you are exposed to advertising, the more it is part of every situation of your live, the more you get resistant to its stimuli.
But what shall the advertising industrial do than going more and more far?
What is every single company supposed to do when the compettiors have
taken over every part of everyday live, what to do than to float with the current? The only possibility is to strike a different note.
One way of achieving this is the attempt to involve the imagination of
the people and to engage them in a different way than usual.
A good example are flashmops.
It must be amazing and captivating when you are part of a flashmop and see that kind of thing for the first time. And it is so clever because it builds on the human sense of community that makes one be carried along by those people starting to dance together out of the blue.
You don´t get bombarded with product information and enthusiasm of the same. Instead, you see something that it not directly related to the product, in this case a sweeping performance that you can enjoy for a start without thinking about advertising. This is more about realating a certain feeling and image with the brand than see than internalise the actual advantages of a product.
But the concept in my opinion is not really durable, sometime it will lose its freshness and authenticity. Not every firm can just come and imitate, this form of advertising lives on the originality of the thing itself that can´t be varied a lot from time to time. One TV-commercial is not like another, but flashmop equals flashmop.
the people and to engage them in a different way than usual.
A good example are flashmops.
It must be amazing and captivating when you are part of a flashmop and see that kind of thing for the first time. And it is so clever because it builds on the human sense of community that makes one be carried along by those people starting to dance together out of the blue.
You don´t get bombarded with product information and enthusiasm of the same. Instead, you see something that it not directly related to the product, in this case a sweeping performance that you can enjoy for a start without thinking about advertising. This is more about realating a certain feeling and image with the brand than see than internalise the actual advantages of a product.
But the concept in my opinion is not really durable, sometime it will lose its freshness and authenticity. Not every firm can just come and imitate, this form of advertising lives on the originality of the thing itself that can´t be varied a lot from time to time. One TV-commercial is not like another, but flashmop equals flashmop.
When a company organises this event and it works, that means it finds approval, they can decide to invest additional money and make a TV-commercial out of it. The probably most prominent example is the T-Mobile flashmop advert;
The brilliant thing about it is of course, that it concerns a mobile service provider that can make use of all the non-actors in the flashmop background recording the spectacle with their mobile phones.
I am of the opinion though, that it depends on what kind of company initiates the flashmop, not least because it involves a great amount of played innocence, music and dance and different generations of people, it would appeal almost cynical if this happy, friendly flashmop would be linked to a corporation that inheres a certain misanthropy or that simply has a bad reputation.
The brilliant thing about it is of course, that it concerns a mobile service provider that can make use of all the non-actors in the flashmop background recording the spectacle with their mobile phones.
I am of the opinion though, that it depends on what kind of company initiates the flashmop, not least because it involves a great amount of played innocence, music and dance and different generations of people, it would appeal almost cynical if this happy, friendly flashmop would be linked to a corporation that inheres a certain misanthropy or that simply has a bad reputation.
Guerrilla, Viral and Ambient Media
Generally spoken, advertising drifts more and more from tv-commercials and posters into all kinds of other possible channels. Also the budgets have become smaller, a creative worker you have to come up with something to achieve a large impact with small cost.
Generally spoken, advertising drifts more and more from tv-commercials and posters into all kinds of other possible channels. Also the budgets have become smaller, a creative worker you have to come up with something to achieve a large impact with small cost.
This is done today, among others, with the help of guerilla-marketing.
It is about sometimes illegal actions and installations that take place or are insalled in public places and that have, like the flashmop, not immediately
visibly something to do with the product, in contrast just aim to attract attention and fascination about what is taking place itself.
By doing so, the organisers accept the relatively low penalty charches that are often disproportionate to the success of their actions.
This method is also very useful in areas where advertising is forbitten, for example certain drugs.
Also the interaction with the people around is part of guerilla-marketing.
It is about sometimes illegal actions and installations that take place or are insalled in public places and that have, like the flashmop, not immediately
visibly something to do with the product, in contrast just aim to attract attention and fascination about what is taking place itself.
By doing so, the organisers accept the relatively low penalty charches that are often disproportionate to the success of their actions.
This method is also very useful in areas where advertising is forbitten, for example certain drugs.
Also the interaction with the people around is part of guerilla-marketing.
Fun is encouraged were it is not expected at all. Apart from that, a little escape of daily routine is combined with speed, fitting exactly to the feeling that shall be related to the product. Still you are not confronted with any cars here.
This campagn is not just funny but comprises generosity and social interaction, leading to a strong emotional bond to the product.
Usually coming with precise temporal and local planning, these guerilla campaigns obtain desirable results by low input, especially in very mature markets.
Often it is about very creative and effective results, even if they reach the the boundaries of good taste or legality, because they normally do no harm to the company if it is caught or exposed and because the costs are low.
A similar approach to advertising is done by viral marketing and ambient media.
The strategy of ambient media is to perfectly assimilate into and creatively play with the everyday environment where the target group resides.
ingenious-surreal: link two everyday object that have nothing to do with each other and suddenly you feel hungry for a bench.
This bench doesn´t only look like a chocolate bar, the act of sitting down and relaxing also relates with the slogan of the product:
“have a break – have a kitkat”.
The results are amazingly creative, stunning, often funny, it´s sometimes hard to draw the line to the guerilla marketing, though.
Viral marketing by contrast is worth of mouth in a broader sense.It includes all techniques that encourages a customer to recommend products and services to other potenial customers or makes potential customers think they get a recommendation, but in reality the company itself spreads the word. A good example are internet fora where someone posts a statement like „try out this, i´m so convinced“. The point is to bring the product or service up for a conversation withing the desired target group.
Social platforms like facebook represent a very convinient environment for viral advertisers, as its members are devided into groups of interest already by the system. Another way of viral marketing is to distribute youtube videos. A clip produced with low cost is published and spreads like a virus, that kind of video that collegues send each other in the office. If this is sucessful, you get a lot of attention for a low price.
Here comes a felicitous example of this discipline; it looks like a dirty joke so noone becomes suspecious that it was for promoting the parties Levis was going to hold all over the world for its anniversairy.
http://www.youtube.com/watch?v=gCk4YAA-6PM
The important thing is that it must not look like advertising, otherwise the users get sceptical and have the feeling to get pushed into something. Since there is a lot of annoying advertisment on the internet nowadays, people become very selective and immediately close any window that is not wanted.
TV-examples:
I can not exactly say why I like this commercial, but for me it´s just beautiful, underlines the message in a simple but impressive way and delivers a lot of atmosphere.
I can not exactly say why I like this commercial, but for me it´s just beautiful, underlines the message in a simple but impressive way and delivers a lot of atmosphere.
The following two commercials are completely different from the first example. I like most of the “Lynx”- commercia
ls, they are funny and creative, even though they are often a bit sexist.
This ad doesn´t need any words, it´s story in story in story in story and fun to watch.
This commercial doesn´t need any words either, the aha-experience comes in the aftermaths, because the story is told reversed.
An everyday problem is turned into a commercial for contraception. Normally birth control campaigns work with the fear of the people and are very serious. This is a fresh approach and very funny yet impressive.
Print examples
When it comes to advertising in print, it is less the idea for a story than visual creativity and graphic playfulness to be caught at first glance. Often very surreal compositions captivate by combining the essential elements of the message in an unexpected and simple way.
“First things first”The known British graphic designer Ken Garland published his manifesto “first things first” in 1964 where he criticises the pointless consumerism of his time´s advertising. He states that people his age grew up with the message that advertising is profitable, worthwhile and efficient to designers to apply their talents. This sounds ridiculous to him considering the fact that valueless everyday objects were advertised and the designers abilities and workforce were wasted on them. In his opinion, these resources should be used to emphasize social and cultural issues in the form of editorial work, photography, film or street signs, in other words all other design disciplines seem much more valuable to him.
The manifesto has been renewed in 2000 with only slight changes as these aspects stay modern.
I think it is always more or less possible for a designer to state his own values in his design, even if its only by influencing the client or carefully choosing for what company to work, and it makes no difference if you work in advertising, animation or branding if you try to act socially responsible.
Nevertheless Garland is right in stating that it is critical to chose your projects carefully and in all conscience.
The manifesto has been renewed in 2000 with only slight changes as these aspects stay modern.
I think it is always more or less possible for a designer to state his own values in his design, even if its only by influencing the client or carefully choosing for what company to work, and it makes no difference if you work in advertising, animation or branding if you try to act socially responsible.
Nevertheless Garland is right in stating that it is critical to chose your projects carefully and in all conscience.
Conclusion:
The advertising industry always smacks of something evil, maybe because advertising tends to highly euphemise, lies impudently sometimes,
urges you to buy, works with nasty stereotypes, because it manipulates and glorifies boundless consumerism.
All of this sounds as if advertisement was unnecessary, superfluous even, a waste of money, environmental pollution, as if humans were better of without it and in addition to it still pristine, childlike, innocent and pure if advertising had never existed.
But...
...advertising informs, trains the eye and the mind, makes sceptical, teaches to be selective, to filter more. Furthermore it is a kind of applied art, a highly creative discipline which gives those who perform it the chance to disclose a part of themselves, beyond of what the commissioning firm orders. It is a way of art that no one can ignore. Above that, advertising forms our environment, gives colour to it. It is not only the fact that digital space and indeed tangible spaces in city centres are shaped, advertising even builds in our thoughts, conversations and decisions. Advertising combines contentswise, literature- and visual wit and know-how, concocts little stories and creates cult.
A lot of what is done within that sector founders and is forgotten quickly, other examples are much discussed and still remembered after decades.
Advertising is a mirror of fashion, attitude of live and the needs of the people in the particular time. It shapes our society in so many respects, without it, our live wouldn´t be the way it is.
Advertising is not a superfluous illness, it is a part of our everyday life.
The advertising industry always smacks of something evil, maybe because advertising tends to highly euphemise, lies impudently sometimes,
urges you to buy, works with nasty stereotypes, because it manipulates and glorifies boundless consumerism.
All of this sounds as if advertisement was unnecessary, superfluous even, a waste of money, environmental pollution, as if humans were better of without it and in addition to it still pristine, childlike, innocent and pure if advertising had never existed.
But...
...advertising informs, trains the eye and the mind, makes sceptical, teaches to be selective, to filter more. Furthermore it is a kind of applied art, a highly creative discipline which gives those who perform it the chance to disclose a part of themselves, beyond of what the commissioning firm orders. It is a way of art that no one can ignore. Above that, advertising forms our environment, gives colour to it. It is not only the fact that digital space and indeed tangible spaces in city centres are shaped, advertising even builds in our thoughts, conversations and decisions. Advertising combines contentswise, literature- and visual wit and know-how, concocts little stories and creates cult.
A lot of what is done within that sector founders and is forgotten quickly, other examples are much discussed and still remembered after decades.
Advertising is a mirror of fashion, attitude of live and the needs of the people in the particular time. It shapes our society in so many respects, without it, our live wouldn´t be the way it is.
Advertising is not a superfluous illness, it is a part of our everyday life.
Sources:
Book:
D&DA09
Book:
D&DA09
Internet:
http://www.youtube.com/watch?v=oP5J4W5GQ3w&feature=results_main&playnext=1&list=PL0AE25C952933D802
http://www.youtube.com/watch?v=I4XG6sbSQ4M
http://www.youtube.com/watch?v=QP4zfcufQ9E&feature=related
http://www.youtube.com/watch?NR=1&feature=endscreen&v=pFdBUcqfPrA
http://www.google.com/imgres?um=1&hl=de&client=firefox-a&sa=N&rls=org.mozilla:de:official&biw=1280&bih=582&tbm=isch&tbnid=RcO7d2H-cfDvuM:&imgrefurl=http://www.marketingprojekt.at/marketing/die-besten-guerilla-marketing-ideen-und-kampagnen/&docid=X_jtZdOUwoCiiM&imgurl=http://www.marketingprojekt.at/wp-content/uploads/2011/03/nestle.jpg&w=466&h=310&ei=nj9uT_3-GunV0QX-r-CMAg&zoom=1&iact=rc&dur=220&sig=102471863567035785780&page=2&tbnh=134&tbnw=179&start=11&ndsp=27&ved=1t:429,r:9,s:11&tx=135&ty=85
http://www.youtube.com/watch?v=qMOuF8oskRU
http://www.youtube.com/watch?v=98EJx7OKqLI
http://www.youtube.com/watch?v=VQ3d3KigPQMhttp://www.kengarland.co.uk/KG%20published%20writing/first%20things%20first/index.html
http://maxbruinsma.nl/index1.html?ftf2000.htm
http://www.google.com/imgres?um=1&hl=de&client=firefox-a&sa=N&rls=org.mozilla:de:official&biw=1280&bih=582&tbm=isch&tbnid=wlg1SGOlxitTnM:&imgrefurl=http://blog.werbelaeufer.de/ambient-media-guerilla-marketing/die-opfer-sind-leute-wie-du-und-ich-mal-wieder-gelungenes-ambient-media-von-einer-ngo/&docid=DLVeort1a2CDAM&imgurl=http://blog.werbelaeufer.de/wp-content/uploads/2009/06/acat_tram.jpg&w=1400&h=1064&ei=wSVxT9XjK62a1AX9hNUO&zoom=1&iact=hc&vpx=277&vpy=4&dur=4895&hovh=196&hovw=258&tx=102&ty=90&sig=102471863567035785780&page=3&tbnh=120&tbnw=168&start=34&ndsp=26&ved=1t:429,r:8,s:34
http://www.google.com/imgres?um=1&hl=de&client=firefox-a&sa=N&rls=org.mozilla:de:official&biw=1280&bih=582&tbm=isch&tbnid=ATOZ0FWjJqHq4M:&imgrefurl=http://www.diebotschaft.com/blog/index.php%3F/archives/103-butter-ambient-media.html&docid=liPSvfR7hFg1vM&imgurl=http://www.diebotschaft.com/blog/uploads/DSC01047.JPG&w=450&h=338&ei=wSVxT9XjK62a1AX9hNUO&zoom=1&iact=rc&dur=304&sig=102471863567035785780
http://www.sueddeutsche.de/wirtschaft/virales-marketing-kennste-den-schon-1.18854
http://t3n.de/magazin/viral-marketing-219169/
http://www.google.com/imgres?um=1&hl=de&client=firefox-a&hs=Ebx&sa=X&rls=org.mozilla:de:official&biw=1280&bih=582&tbs=isz:l&tbm=isch&tbnid=pbAoYxxwOSGpgM:&imgrefurl=http://theinspirationroom.com/daily/2009/wwf-its-your-turn/&docid=jCkmxgIQPxGW7M&imgurl=http://theinspirationroom.com/daily/print/2009/6/wwf_shark.jpg&w=1400&h=1980&ei=H0dzT8TLAcrA0QWW-6T2Dw&zoom=1&iact=rc&dur=351&sig=107899281348076633157&page=1&tbnh=165&tbnw=139&start=0&ndsp=11&ved=1t:429,r:0,s:0&tx=85&ty=95
http://www.google.com/imgres?um=1&hl=de&client=firefox-a&sa=N&rls=org.mozilla:de:official&biw=1280&bih=582&tbm=isch&tbnid=djOxnscqRiZHoM:&imgrefurl=http://p-adamek0912-dc.blogspot.com/2009/10/hat-trick-design-consultants-ougd101.html&docid=rkpZ7pO5L6lKtM&imgurl=https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMqHqdHHuiAb2FV_Z_VPl4z4RTiax_A-2baynUMBSa9Wf4E2PKrk6V5vf8xJW1U1WlLXTS_nZKT-TxxFaKVO0swTdd7_dcGlwhJIYGgUozKaytsK_e2KyZcdUzXPKGZQf9e7CSkB-HXmU/s400/Darwin%252BBicentenary%252BCatalogue.jpg&w=288&h=400&ei=l0dzT_60DsnN0QWnz_AW&zoom=1&iact=rc&dur=219&sig=107899281348076633157&page=1&tbnh=121&tbnw=87&start=0&ndsp=21&ved=1t:429,r:0,s:0&tx=39&ty=102
http://www.google.com/imgres?hl=de&client=firefox-a&hs=rix&rls=org.mozilla:de:official&biw=1280&bih=582&tbm=isch&tbnid=ZbsO4FqNY8hTHM:&imgrefurl=http://osocio.org/message/shelter_house_of_cards/&docid=Ge1lDEAaNI8JdM&imgurl=http://osocio.org/images/uploads/shelter-house-of-cards_thumb.jpg&w=468&h=702&ei=-EhzT6PjOYPA0QWYicUC&zoom=1&iact=rc&dur=597&sig=107899281348076633157&page=2&tbnh=127&tbnw=85&start=24&ndsp=30&ved=1t:429,r:4,s:24&tx=45&ty=57
http://creativesociety.com/gallery/13340/husky-camel-bushman-eskimo/
sustainable design,
green design, design for environment or eco-design
acts on the maxims of environment-friendlyness.As people are becoming cognisant about their role as the „destroyer of the environment" and feel remorse, they demand different fields of everyday live to make it easier for them to live earth-friendly.This claim means a great challange for the design world and sustainable design becomes more important in all areas of design, whether it is two- or threedimensional.Man versucht dem bisherigen verhalten der ressourcenverschwendung und der consumsucht entgegenzuwirken in dem man create more efficient products, services, buildings etc by rethinking every step: from using new materials to restructuring a whole process. Sometimes sustainable designing correlates very much with engeneering aspects. Passive houses are a good example; they never need a classic heating or air condition due to their well considered insulation. At other times sutstainble design is more about campaging and communication, about creating awareness of a certain subject matter, done with the help of enlightenment films, especially animation a lot these days.There are a lot of great inventions that need to get into a broader marked, and some that are already there.
A great trend is urban gardening. Not only that it fulfills the city peoples´need for green spaces around them, but
done correctly it can be an attraction point for bees that are very endangered.
The term design thinking referes to a process of solution finding that is orientated towards that of designers. It includes a stuctured and target group based approach, a period of watching, defi
ning needs of people and idea-brainstorming phases. Also roleplay and pactial testing a are critical part of the work of a designer that are transferred to this process where non-designers try to come up with ideas that people need. A mulitdisciplinary team helps bringing all kinds of views and standpoints in to cover a variaty of different important issues that need to be considered.
What is the forth order of design?The forth order of design is about a theorie by Richard Buchanan, deviding design into four levels: 1. about graphic communication 2. design that is about 3-d-objects 3. for us as individuals 4. the knowledge that that a product has a lifetime, this is where sustainable thinking starts.
Sources:http://www.heimatgruen.net/
http://www.passivhaus.de/http://www.igpassivhaus.at/
http://www.lilligreen.de/
http://www.hpi.uni-potsdam.de/d_school/designthinking/komponenten.html
http://designthinking.ideo.com/http://www.ftd.de/karriere-management/management/:design-thinking-kreativ-um-die-ecke-gedacht/50171916.html
9. Ten things I´ve learned
-Design does not only mean shaping beautifully but inventing things new.
-No output without input - influence makes my design.
-No matter if I work on animation, packaging or web design, not the technology but the basic rules of graphic design decide if the outcome is good.
-No matter if I work on animation, packaging or web design, not the technology but the basic rules of graphic design decide if the outcome is good.
-Design is power and power means responsibility.
-Great ideas are the result of coincidence and intelligent planning.
-Nearly everything around us is designed, a vanishingly low part of it is good.
-Creating ideas is the more demanding part of the design work, their implementation just takes most of the time.
-Standing up for the own concerns and making money don´t have to be opposites.
-All design disciplines have something to do with me as a designer, not only my prefered areas.
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