Brief
Produce three different typographic layouts which present the information given in a visually stimulating and attractive way and enable the reader immediately to understand the nature and theme of the text. All the text must be used.
Three finished typographic layouts printed in A3. One will be chosen to print at A1 for display in the studio.
- One typeface in any weight and as many sizes and you see necessary
- Two typefaces, inany weight, each in any size
- One typeface in its bold and regular weight, in any size
Three finished typographic layouts printed in A3. One will be chosen to print at A1 for display in the studio.
Manifesto Text
First Things First
Various, 1964 (amended 2000)
We, the undersigned, are graphic designers, art directors and visual communicators who have been raised in a world in which the techniques and apparatus of advertising have persistently been presented to us as the most lucrative, effective and desirable use of our talents. Many design teachers and mentors promote this belief; the market rewards it; a tide of books and publications reinforces it.
Encouraged in this direction, designers then apply their skill and imagination to sell dog biscuits, designer coffee, diamonds, detergents, hair gel, cigarettes, credit cards, sneakers, butt toners, light beer and heavy-duty recreational vehicles. Commercial work has always paid the bills, but many graphic designers have now let it become, in large measure, what graphic designers do. This, in turn, is how the world perceives design. The profession‘s time and energy is used up manufacturing demand for things that are inessential at best.
Many of us have grown increasingly uncomfortable with this view of design. Designers who devote their efforts primarily to advertising, marketing and brand development are supporting, and implicitly endorsing, a mental environment so saturated with commercial messages that it is changing the very way citizen-consumers speak, think, feel, respond and interact. To some extent we are all helping draft a reductive and immeasurably harmful code of public discourse.
There are pursuits more worthy of our problem- solving skills. Unprecedented environmental, social and cultural crises demand our attention. Many cultural interventions, social market- ing campaigns, books, magazines, exhibitions, educational tools, television programs, films,
charitable causes and other information design projects urgently require our expertise and help.
We propose a reversal of priorities in favour of more useful, lasting and democratic forms of
communication – a mindshift away from product marketing and toward the exploration and
production of a new kind of meaning. The scope of debate is shrinking; it must expand. Consumerism is running uncontested; it must be challenged by other perspectives expressed, in part, through the visual languages and resources of design.
In 1964, 22 visual communicators signed the original call for our skills to be put to worthwhile use. With the explosive growth of global commercial culture, their message has only grown more urgent. Today, we renew their manifesto in expectation that no more decades will pass before it is taken to heart.
We, the undersigned, are graphic designers, art directors and visual communicators who have been raised in a world in which the techniques and apparatus of advertising have persistently been presented to us as the most lucrative, effective and desirable use of our talents. Many design teachers and mentors promote this belief; the market rewards it; a tide of books and publications reinforces it.
Encouraged in this direction, designers then apply their skill and imagination to sell dog biscuits, designer coffee, diamonds, detergents, hair gel, cigarettes, credit cards, sneakers, butt toners, light beer and heavy-duty recreational vehicles. Commercial work has always paid the bills, but many graphic designers have now let it become, in large measure, what graphic designers do. This, in turn, is how the world perceives design. The profession‘s time and energy is used up manufacturing demand for things that are inessential at best.
Many of us have grown increasingly uncomfortable with this view of design. Designers who devote their efforts primarily to advertising, marketing and brand development are supporting, and implicitly endorsing, a mental environment so saturated with commercial messages that it is changing the very way citizen-consumers speak, think, feel, respond and interact. To some extent we are all helping draft a reductive and immeasurably harmful code of public discourse.
There are pursuits more worthy of our problem- solving skills. Unprecedented environmental, social and cultural crises demand our attention. Many cultural interventions, social market- ing campaigns, books, magazines, exhibitions, educational tools, television programs, films,
charitable causes and other information design projects urgently require our expertise and help.
We propose a reversal of priorities in favour of more useful, lasting and democratic forms of
communication – a mindshift away from product marketing and toward the exploration and
production of a new kind of meaning. The scope of debate is shrinking; it must expand. Consumerism is running uncontested; it must be challenged by other perspectives expressed, in part, through the visual languages and resources of design.
In 1964, 22 visual communicators signed the original call for our skills to be put to worthwhile use. With the explosive growth of global commercial culture, their message has only grown more urgent. Today, we renew their manifesto in expectation that no more decades will pass before it is taken to heart.
Layout Research
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Grids
Layout
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Structure
Reversed Layout
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Visual Research
The Designers Republic
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Tomato
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Wolfgang Weingart
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Thumbnails
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Illustrator and InDesign
After a lecture with Damon on 30/09/24, I used illustrator and indesign to decide which to develop my layouts on. Indesign is specifically programmed with typography in mind so I chose to only use this from now on. It has many more options to organise text such as optical margin alignment and paragraph, to make my posters more visually appealing.
Illustrator
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InDesign
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Experimenting with InDesign shape options
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From my digital ideas and experiments I chose three of my strongest to develop further into my final designs.
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After feedback with Damon and Billy on 7/10/24, I will be making my designs from the font Helvetica and making sure the body of text element of my layouts are structurally sound before continuing.
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Final Designs
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On our final feedback session on 14/10/24 I made some adjustments to one of my designs before its printed in A1 and displayed in the studio.
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