Part 5 Research Point [Logo Design]

From historic era to today’s corporate world, the businesses are reliant on the logos to represt them and their values on which the businesses are based on firmly. Logos are crucial and integral part of the brand identity.

The logos can be categorized basically as

  • Text only
  • Text with graphic
  • Graphic only

The types of logos :

  1. Lettermarks (or monogram logos)
  2. Wordmarks (or logotypes)
  3. Pictorial marks (or logo symbols)
  4. Abstract logo marks
  5.  Mascots
  6. The combination mark
  7. The emblem

Some logos can stand as separate elements (as only text or as only graphic), though they are combined together initially. Currently, the animated logos are trending too, due to the advent of technology and high-end softwares as well as ease of creating GIF.

In logo design, modernism has sought to create simple and recognizable symbols that transcend cultural context.

The use of typography in logos is a deep field of study nowadays.

As per asked in the coursework, I couldn’t recall the logo of OCA at ease, to be frank –

OCA

The logo is combination of wordmark and lettermark, a striking combination of black and red colours. Yet, seems very simple to remember actually but not much unique or rare that it will be etched on the memory by even a glance once. It is not much distinguished characteristically. So, I found it hard to recall it.

I felt I have seen some logos similar to this logo. For ex. –

 

I have researched logos of following companies :

(1) Google :

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Colorful and long, the Google logo has an important message to convey. It has two aspects – repetitive use of color and letters [typography]. It is a wordmark logo. This logo signifies a varied range of globalized content, just like the brand is known for. It is visually appealing.

(2) FedEx :

Fedex-Logo

The white space between ‘E’ and ‘X’’ in the FedEx logo makes an arrow, suggesting a business moving forward. It also denotes ‘speed’ (in delivery), which is one of the key features and differentiators of the company. It conveys to customers why to choose FedEx over others for their logistics woes without explicitly having to say so in words. The logo of the famous shipping company is one of the best-known designs that carry a hidden symbolism. Even people who have been seeing the FedEx logo for years might miss catching the hidden image. The design has received more than 40 awards and has been ranked as one of the best logos in the last several years. The logo is wordmark logo.

(3) Amazon :

amazon-logo

Thousands of people see the Amazon logo every day. However, not everyone notices the subtle meaning it conveys. The arrow from a to z conveys subtly that the brand offers just about anything and everything from A to Z. Also, the orange arrow hints at a smiling face, conveying a happy customer. It is a combination mark logo.

(4) Mercedes Benz :

Mercedes-Logo

Another of the most iconic logos known the world over, Mercedes-Benz showcases its triumph over the land, air and the sea with its logo which depicts a Tri-star surrounded by a circle signifying security. It is a combination mark logo.

(5) BMW :

BMW-Logo

 

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BMW is one such example of tryst with history. With a color scheme of blue and white, signifying the harmony of air and speed propellers, the BMW logo traces its role as a part of the World War II when the company was intrinsically involved in creating airplane engines for its home country, Germany.

(7) Audi :

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audi-logo

Audi probably has one of the most recognizable car logos ever created. The Audi logo is a representation of the merger of the four founding companies in the year 1932. The four companies that merged are Audi, Horch, DKW, and Wanderer; as a whole they make up the Auto Union.

(7) Baskin Robins :

Baskin-Robbins-Logo

The ‘B’ and ‘R’ in the Baskin Robbins brand logo, introduced in 2005, are made of two colors – blue and pink. When you focus on just the pink color, you will notice the number ’31’, which denotes the number of flavors the brand offers! So, the logo showcases the company’s ideology that the people have the opportunity to relish a new ice cream flavour every day of the month! It is a combination mark logo.

(8) McDonald’s :

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A brand that is as iconic as its logo, McDonald’s is the perfect play of color that stays in the minds of its target audience forever. The red and yellow shades and the iconic arches make us feel tempted for the french fries and burgers immediately. Logo is combined as well as abstract lettermark logo too.

(9) Barbie :

Barbie-Logo

barbie-logo-evolution

The Barbie logo is among one of the most popular and instantly recognizable logos in the world. First introduced in March 1959 at the New York Toy Show, it has undergone several modifications throughout the years; however, its signature light-hearted, minimalist style has remained same. The current version of the Barbie logo consists of a simple wordmark which features the brand name in a hand-drawn, italic typeface which has an elegant, playful and traditional look and feel. Pink is a color that feels soft, gentle, sweet, young, feminine and optimist. All these qualities makes its use perfect for the Barbie logo.

(10) F1 (Formula One) Race :

Old Logo –

Formula-1-Logo

The logo design of Formula One reflects the core values of sports. The red color stands for energy and passion, while the black color represents determination and power. If you focus on the negative space between the two colors, you will see the numeric ‘1’. The F1 sign, along with red racing stripes, makes the logo truly representative of the brand. It has been used for almost past 23 years.

New Logo –

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F1 revealed the new much simpler design that will be used from the start of the 2018 campaign.F1 commercial chief Sean Bratches said that the decision to change the logo had come about because the old design was neither useful for modern digital platforms nor merchandise. Logo was simplified to make it compatible for digital mediums.

(11) Penguin Books :

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A flightless bird might seem an unusual logomark for a company that revolutionized publication of books. But in the 78 years since its first iteration, Penguin’s charming icon has become one of the top brands with cultural and political significance. Edward Young was asked to design the covers of the first set of 10 Penguin paperbacks, which appeared in the summer of 1935. In 1946, Young’s amateurish logo was modified by forward-thinking German typographer Jan Tschichold, who was invited to give Penguin a uniform aesthetic. In 2003, Penguin logo was refreshed by Angus Hyland in 2003.

(12) Microsoft :

Windows1-10Logos

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The new logo was launched. According to Microsoft it takes its inspiration from their product design principles while drawing upon the heritage of our brand values, fonts and colors. There are two elements to this logo, the logotype and the symbol. The logotype uses the Segoe font in gray and although very different still keeps the joined up ‘f’ and ‘t’. The symbol of four coloured squares (red, green, yellow and blue) is said to be “intended to express the company’s diverse portfolio of products.

(13) Apple :

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The original logo was designed by Ron Wayne, who started Apple with Jobs and Woz in 1976. In 1977 White sold his portion of Apple back to Jobs and Woz when they incorporated. The image is a pen and ink illustration of Sir Issac Newton leaning against an apple tree with a portion of a William Wordsworth poem running around the border: “Newton…A mind forever voyaging through strange seas of thought…alone” (Prelude, Book III, Residence at Cambridge). Steve Jobs decided to scrap this image because he felt that Wayne’s logo was too cerebral and not easily reproduced at small sizes. Regis McKenna Advertising Agency was approached by Steve Jobs to redesign and the Rainbow Apple logo was created. Later, gradually, Apple began placing sizeable and Monochrome styled logos on its products.

(14) Nokia :

logo-evolution-brand-companies-nokia

Engineer Fredrik Idestam built his second wood pulp mill by the Nokianvirta River, which gave the Nokia its name. In 1871, Idestam and his friend Leo Mechelin, renamed and transformed the firm into a share company, thereby founding the Nokia Company. The first logo of Nokia was created in 1966 showing the image of a fish, inspired by the salmon fish of Nokianvirta River. In 1898, Eduard Polon founded the Finnish Rubber Works, which later became Nokia’s rubber business. In 1967, three companies, which were jointly owned since 1922 by Nokia, officially merged and created Nokia Corporation which adopted the logo which was all black rounded shape emblem, in which “Nokia” was written in white. At the start of its telecommunication equipment manufacturing, Nokia adopted the logo which was quite similar to the current one, but with the light blue color and the arrow like shape pointing upward. Arrow in the logo represents the Nokia’s progress and advancement in telecommunication industry.

(15) Samsung :

samsung-blue-big.png

samsung_logo_history

In Korean, the word Samsung means ‘three stars’ The name was chosen by Samsung founder Lee Byung-chull whose vision was for his company to become powerful and everlasting like stars in the sky.

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Part 5 Research Point

I love reading since childhood and have always have bought many good books. I have preferred buying paperbacks rather than hardcover, as it is easier to hold for longer duration in hands.

I have been studying the cover designs and illustration on the book covers as well illustration inside the books on the  pages.

For this exercise, I have photographed some of those books for elaborating the styles and illustrations, designs of the covers of the paperback books which are like series or can be a part of series by following publications –

(1) Harper Collins –

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The use of white colour and sans serif font for the name of the book, script or handwritten font for the name of the book and the author, use of illustrations and photographs with mysterious yet spiritual appearance that continue throughout the spine and the back cover, are the main characteristics of the books that are consistent and make the books appear as a part of the series.


(2) Westland Books (Westland Ltd) –

amish 7

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shiva-trilogy

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These books are a part of trilogy (series of three books) actually. The use of white colour for the text, name of the book and the author and also for the publication for all three books is striking. Also, serif font is used on all the book covers. The background of the images related to Lord Shiva is creating a divine feel. The designs make the books perfectly suitable to each other as a series.


(3) Bloomsbury –

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These books aren’t part of series. Neither are they designed by same designers. Yet, the style is consistent throughout. The author of ‘The Kite Runner’ became famous after it was published and hence, on the book cover, it is mentioned as it was written in succession to the previous book. The script font with handwritten look for the name of the book and serif font in uppercase for the name of the author is consistent.


(4) Hodder Children’s Books –

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I had many of these mystery story books from the series ‘The Secret Seven’ by famous author Enid Blyton, during teenage but currently, I had only two of these. Use of script font with handwritten look for the name of the author is seen. The sans serif typeface with bold weight is used for the name of the book and the body text is continuously used. The style of the cover design is consistent . The designer is same.


(5) Three different publications from three different era s-

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I had many of these mystery story books from the series ‘The Secret Seven’ by famous author Enid Blyton, during teenage but currently, I had only three of these.

First book appears to be a part of Hodder Children’s books as the style is similar to that of the series of ‘The Secret Seven’.

Another publication is from probably mid-80s and reflects the influence of emphasis on the illustration through the cover design layout.

The third publication seems to reflect the older era, when there were less effective techniques of designing, through the limited colour scheme, emphasis on simple illustrations and simplified text.


(6) Two different publications from two different eras –

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One of the publication Aladdin Paperbacks uses only serif typeface combined with an illustration is really effective and vibrant.

Another publication has a consistence in style, throughout the layout considering it is part of the series of the detective stories [for example, the name of the book and the author being written in serif typeface and highlighted, use of illustration, number of series on the spine, etc.].


(7) Three different publications from three different eras –

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One of the publication has a consistence in style, throughout the layout considering it is part of the series of the detective stories [for example, the name of the book and the author being written in serif typeface and highlighted, use of illustration, number of series on the spine, etc.].

Another publication maintains a vintage appearance and uses only limited colour scheme with a photograph, bold serif typeface for the name of the author and the book as well as the number of the book in the series is placed in the middle, making it easier to understand that it is the part of the series.

The third publication is reflecting a retro appearance throughout the cover design layout, including the choice of typeface, use of colours and style of illustration.



One of the publications that I chose for research is

Penguin books :

It was founded in 1935 by Sir Allen Lane, his brothers Richard and John, as a line of the publishers. Penguin revolutionized publishing in the 1930s through its inexpensive paperbacks. The first Penguin paperbacks were published in 1935.

Lane’s experience with the poor quality of reading material on offer at Exeter train station inspired him to create cheap, well designed quality books for the mass market.

From the outset, design was essential to the success of the Penguin brand. Avoiding the illustrated gaudiness of other paperback publishers, Penguin opted for the simple appearance of three horizontal bands, the upper and lower of which were colour-coded according to which series the title belonged to; this is sometimes referred to as the horizontal grid. In the central white panel, the author and title were printed in Gill Sans and in the upper band was a cartouche with the legend “Penguin Books”. The initial design was created by the then 21-year-old office junior Edward Young, who also drew the first version of the Penguin logo. Series such as Penguin Specials and The Penguin Shakespeare had individual designs. The colour schemes included: orange and white for general fiction, green and white for crime fiction, cerise and white for travel and adventure, dark blue and white for biographies, yellow and white for miscellaneous, red and white for drama; and the rarer purple and white for essays and belles lettres and grey and white for world affairs. Lane actively resisted the introduction of cover images for several years. Some recent publications of literature from that time have duplicated the original look.

The company strengthened its design under German typographer Jan Tschichold during the 1940s and Italian art director Germano Facetti in the 1960s. Under Jan Tschichold a disciplined and coherent approach to design was adopted. Tschichold designed a template for Penguin books unifying the design of the front, spine and back and redrew Edward Young’s Penguin symbol in eight variations. In 1949 Tschichold returned to Switzerland.

By the early 1960s Penguin had lost its edge in pioneering book design. In 1961 Italian art director Germano Facetti was appointed as head of design. One of his most inspiring projects was the redesign of Penguin Crime. The redesign was so successful that other variations were adopted for other Penguin series. In just over a decade at Penguin, Facetti succeeded in the modernising of its approach to design whilst also doing so in a coherent way across hundreds of titles.

Current book covers from Penguin books use a mixture of creative typography, illustrations and photography.

Penguin_logo_svg

Penguin_Crime_I

Pelican_book_covers


 

Part 4 Research Point [Level 1, Unit 1]

I have collected many newspapers, magazines, etc. so far always whenever I found some designs in them interesting to study through observation.

For this research, I’m presenting three different news articles from some of them as follows for studying the use of type –

Example 1 :

11222017

The caption or the headline of the article is presented in bold, sans serif typeface with elongated or vertically stretched appearance, in tight kerning and less leading as well as low tracking values, with just one word highlighted in green. Overall, the caption is not much legible easily. The number of words is bit much more for a caption than it should be in general. The use of three photographs [1 large sized and other two of almost same size] arranged in a balanced manner along with introducing paragraph as well as the main body copy in one whole column is what it makes extremely complicated in appearance overall. The font used for the caption is used for the introduction paragraph but without bold weight. A typeface similar to following fonts is used for the column of body copy –

  1. Bell Mt
  2. Century
  3. Times New Roman
  4. Yu Mincho Demibold

Among these ‘Yu Mincho Demibold’ seems to be a closer match, with beautiful combination of varied width [thick and thin] of strokes and the terminals.

body copy text 1.1

The gutters of the column and photographs are equidistant. Use of drop caps is not much of significance though.

Example 2 :

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The use of typeface ‘Arial’ [narrow, regular] for introduction paragraph is seen. The caption or headline of the article is presented in bold, sans serif typeface with elongated or vertically stretched appearance, in tight kerning and less leading as well as low tracking values. The photograph is serving the purpose of catching attention of viewers who give it a quick glance or even to the readers of the article by making it appear as an attractive background of the caption of the article. The highlighted introduction paragraph is written in the same typeface as that used for the caption, but with no bold weight. The name of the author is written in a bold sans serif font just below the caption. Use of drop caps at the beginning of the column is significant due to the use of five lines. The equidistant gutters between the columns and most likely use of the beautiful serif typeface ‘Century’ is seen for the body copy is making overall text columns legible with one slightly lengthy column as compared to the other two columns. Thus, except the caption, the text overall doesn’t appear illegible.

Example 3 :

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The use of the medieval gothic font ‘Cloister Black’ for the name of the newspaper ‘The Hindustan Times’ written using the centre alignment above the editorial article, combined with typeface ‘Arial’ [uppercase, regular] is catching the attention. The use of regular weight for the typeface ‘Arial’ for the headline of the article makes it insignificant in appearance. The sub heading is written using a serif typeface similar to ‘Times New Roman’ or ‘Century’. The whole text is placed in one whole column, yet it doesn’t look bulky with only three paragraphs with indents on each beginning line. A highlighted drop cap of five lines is providing a beautiful visual contrast to the overall text. The name of the column or editorial ‘ourtake’ is wrap text on right side of the overall text, with the two words combined together, yet differentiated with use of colours like Cyan and Black. It is placed strategically at the end of the first paragraph. The text of the article is reflecting sincerity in appearance and is very legible overall.

Part 4 Research : Vernacular Typography [Level 1 Unit 1]

‘Vernacular’ means the regional language or local dialect spoken by the native people or of a country or region. Vernacular typography is type design in common use. It is developed to suit the particular needs of a certain location or culture, or developed around a particular activity or within a group of people.

The vernacular typography is often created by untrained designers or hand-lettering artists, on various surfaces, for example metals like iron, steel, fibre, plastic, glass, wood, etc., some of which have different textures as well, giving the typography very unique, attractive appearance, by use of vibrant colours, different symbols, human figures, motifs, artistically drawn animals, numbers, abbreviations of words in vernacular language or local dialect.

Vernacular typography examples that I have studied are from shop-name-boards / signboards [some are hand-painted, hand-lettered while some are printed, engraved or embossed or even made from neon lights] and typography on cars or trucks. Modt of these are written in my mother-tongue regional language Marathi, our national language Hindi and also some are written in English. Some have been so crude that there can be seen some grammatical mistakes but it doesn’t hamper the beauty of the artworks. Instead, it has increased the charm.

Fruit Juice Kiosk :

Wonderful use of vibrant colours, perspective, three dimensional lettering in Marathi / Hindi and English, shapes of fruits altogether makes it visually attractive and tempting.

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Cardboard box :

Car :

Signboards, Name-boards and Hoardings :
The style of logo of the brand ‘Godrej’ isn’t disturbed but yet arranged in a festive look on the hoarding for an ad of discount scheme of a furniture shop. The text is written in simple and sans serif fonts with varying weights (regular and thin) is combined with bold serif font in Marathi.

The hoarding next to it is of a supermarket named ‘Central Bazaar’ written in Marathi along with its logo consisting typography and line artwork of a trolley to carry the purchased goods.

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The logo of a locally famous watch-repairing shop is combination of serif font and a shape of wrist watch. The colour combination is simple black and red, yet very striking.

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The name of the ladies garment shop ‘Maitrin’ (मैत्रिण – meaning : a female friend) is written in a calligraphic font in Marathi. The use of maroon for background with white coloured text makes it perfectly balanced in the handwritten calligraphy appearance overall.

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The ad of a sale and festive offer for the clothes shop is attractive due to the thin script font used for the name of the Indian festival ‘Dipawali’ written in Marathi paired with bold serif font written on a dark, gradient filled background surrounded by a vector ornamental frame. The contrast colours make it visually attractive.

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The simple yet attractive sans serif font for the name ‘City Pride Anand’ in white colour is used for a cinema theatre in Marathi with just an artistic dab underneath on a red background, make it appear beautiful and glamorous. The rounded letters make it easy to read.

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The name ‘Cottonking’ of shop selling a brand of cotton clothes, especially gents shirts is written in English in lowercase using a font that is sans serif, with the leg of the letter ‘k’ extended belpw the baseline and ‘g’ is double storey. The distance between the x-height and the ascender line is less than usual.

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The icecream and dessert shop ‘Moods of Deserts’ is colourful, written in a fancy, display font on black background with slanting complimentary text below it in white, making it appear tempting to have a scoop or two of an icecream.

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The name of the mini market for grocery supplies – ‘GroMart’ – is written in an unusual way in English, in uppercase serif font with symmetrical terminals of serifs on green background. The letter ‘O’ is substituted with a pair of concentric circular shape divided in sections making it unique, kinetic and depicting movement or progression. The logo is made out of the double storey ‘g’ shaped as a trolley to carry the purchased goods. The name ‘GroMart’ is written below also in Marathi.

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The vertical alignment of the text of name of the Hotel ‘Bahar’ in Marathi and English in a fancy, display font on dark green background is seen.

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The white calligraphic text of obituary board on black background with lit up lamps for paying the respects is paired with sans serif font is arousing emotional response. Black colour depicts the colour of mourning.

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I personally love travelling since I was a child and always fascinated to observe the surroundings. From this observation, I have noted a wonderful trend that can be seen in India is typographical artworks on the trucks and lorries, tankers, etc. It is kind of retro in appearance overall. It can be itself one deep subject of research if considered. There are typographical artworks on the back of the trucks, especially regarding a phrase ‘Horn Ok Please’ / ‘Horn Please’ to warn the vehicles behind while travelling on roads and highways, to blow the horn if they wish to overtake as it’s absolutely fine (or Ok) to blow the horn and there is no ban to sound the horn in India. 

Some of such typographical artworks have an emotional, sentimental appeal to warn people about rash driving by showing a women / children waiting at home for them OR to express their gratitude towards their own family members like mother or father, for all the progress they have made due to their parents OR even writing the names of the children in the family. It reflects the Indian culture and family values. Funny statements, slogans, etc. are written.

 

Part 4 Research Point : Ligatures, Characters, etc. [Level1, Unit 1]

Ligatures are characters in which two or sometimes more than two letters are combined to make printing easier as well as to make the text visually persistent while reading. There can be different types of ligatures, for example standard, discretionary, historic ligatures, etc.

I was fascinated by the curiosity about the ligatures of Serif fonts for ex.

Times New Roman –

Ligatures (Times New Roman)

Sans serif fonts for ex. Arial –

Ligatures and special characters (Arial)

I felt to explore more about some display fonts as well and selected a font named ‘MEgapolis Extra’ and noted down the keystrokes for some stunning ligatures and characters –

Ligatures

Practically speaking, as I’m a working designer, to match the fonts from innumerous, infinite fonts and typeface families all over the world, is like finding a needle in haystack. But, still, I have studied typefaces of a digital book ‘Creating Luminous Watercolour Landscapes’ using . I used website http://www.identifont.com and http://www.myfonts.com/WhatTheFont for the main typefaces for headlines and body text –

Font identification page of ebook 1

Font identification page of ebook 2

For the body text, the font used is most probably Photina MT Std :

font identification 2

For the headline text

font identification 3

the font used is similar to the following fonts :

Font identification 4

I also have studied some objects with text on them, for example, my diary :

my diary

The word ‘Attitude’ is script font with handwritten appearance while the remaining text is thin, uppercase sans serif font, similar to font Arial.

A movie CD cover :

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The title ‘Bhaag Milkha Bhaag’ is written in uppercase, sans serif, bold font. The kerning is tight and there is no leading. The vertical stretched look makes it all different in appearance. The ‘G’ is without spur.

The box of printing-papers :

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The word ‘Kodak’ is in sans serif font, written in an unique retro style, similar to Bauhaus font. Other remaining text is simple sans serif. the lowercase ‘a’ and ‘g’ is double-storey while uppercase ‘G’ has no spur/tail.

The book cover :

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The use of calligraphic text / strokes in circular arrangement in Arabic script is extremely attractive and intriguing. The title and the name of the author is written in uppercase thin serif font, similar to the fonts like Times New Roman or  Cloister with varying weights like regular and bold respectively. The description is written in a calligraphic font.

 

Part 4 Research [Level 1, Unit 1]

I have been interested in learning typography and also I wish to learn to create fonts. I came to know about many designers, typographers, calligraphers, etc. but noticed that there were many names of male designers, typographers or calligraphers and strangely there were very rarely or very few female names. This roused my curiosity about first female typographers and printers and their work in the past.

Hence, I thought to undertake a research and found some stunning and interesting information –

There was a period when there were prejudices about capabilities of women and were considered inferior. They weren’t given the due credits for their work, not even were acknowledged for their work. Some women preferred to work with nicknames sounding like male names or simply remained anonymous by intention or forcefully by other, due to such unfavourable conditions. So, sometimes it was bit tough to recognize whether the work was done by a women artist or not.

Women had fewer career opportunities and also had been exempted from getting good education and not even allowed to matriculate or graduate. Even the universities like Oxford didn’t allow women to even get admission till 1920. Even at Bauhaus art school in Germany, women were permitted to learn weaving or textile design but not other arts like graphic design or typography. Condition wasn’t much different throughout all the continents of the world. The issue of treating women artists, designers, typographers, etc. as inferior was universal, almost in all religions and classes, with very rare exceptions.

Prior to the invention of printing process in 15th century, women were involved in the process of production of manuscripts as well as some women worked as scribes, copyists for imitating handwritten documents, arts and music while some women served as patrons and supporters. Wives of craftsmen and nuns were allowed to assist or work in printing firms to typeset or aid the guilds of artists, typesetters, publishers, etc.

For example :

  1. Dominican nuns were printing books during the period between 1476 to 1484.
  2. There is a logbook by a convent press belonging to 8th century  which contains the record of female compositor, nun who had typeset a folio edition of a literary work by an Italian poet.
  3. Estellina Conat (wife of a physician and printer Abraham Conat) was involved in the process of typesetting of a Hebrew book, a small octavo edition of ‘Behinat Olam’. It has a colophon (a publisher’s emblem / imprint usually on the title page of the book, containing the brief information) which mentions Estellina’s contribution.

Anna Rugerin :

Anna’s mother Barbara Traut Schonsperger had remarried to Johann Bamler, a printer Augsburg, thus marking the beginning of an extensive engagement of family in the book-printing business.

After the death of her husband Thomas Ruger, Anna took full control of her print shop as an owner and operator, by having a business-oriented family history. The first woman to add her name in a colophon as a printer in a printed book was Anna Rugerin. She had published two folio editions of ‘Sachsenspiegel Landrecht’ by Eike Von Repgow in summer, June 1984 at Augsburg [Southern Germany]. She was assisted by her brother Johann Schonsperger.

Colophon containing Anna Rugerin’s name (Image courtesy of Deutsche Forschungsgemeinschaft)

Anna Rugerin colophon

I had found the translation of the colophon as follows :

anna rugerin colophon translation

The opening page of ‘Formulae and Duetsch Rhetorica’ contains the mention of Anna Rugerin (Image courtesy of Deutsche Forschungsgemeinschaft) –

Formulare-und-deutsch-Rhetorica-Augsburg-1484

Anna Rugerin and Johann Schonsperger used gothic type [Type 1:120G] –

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Later, in 16th century, situations started progressing and more than hundreds of women were becoming a part of printing and designing processes, including bookmakers, writers / scribes, editors, type-designers, typographers, printers, owners of printing-firms.

 

Part 3 Research Point [Level 1 Unit 1]

Being a self-studied designer, I have  habit of collecting many samples of various designs (printed and digital) for example ads, packaging, labels, graphics, illustrations, flyers, posters, logos, book covers, sketches, paintings, drawings, etc. These collections have helped me to overcome artist’s block at times and also to keep the spark of creativity alive in me.

I have found innumerous styles and types that attract me. These collections have motivated me to improve my style of design.

I have realized that I have collected various types of designs by various designers, known and unknown. I’m interested in the designs that use illustrations, graphics, typography and vibrant as well as minimal colour palettes.

Through observations so far, I have understood that the hierarchy and layout should be balanced to attract the attention of viewers and also to increase the possibility of sell of the product by lucrative designs. The utility and innovative aspects are extremely important in the design. The designs should be memorable and transcend beyond the trends and classics.

The visual language is easy to understand and dominant throughout, represented through the following designs from my visual diary :

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The package design for a spices powder product is made up of limited colour palette. The warm colour scheme used on white background and an apt photograph of the spices has made the design perfect for print. The well-balanced layout makes the visual language easier to understand.


 

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The translucent design with uniform design on all bottles creates an illusion of fruits hanging up on the level of drink. The vertical alignment of the text is suitable. Uniqueness of such designs is the key factor to appeal the potential buyers, making them feel the temptation to try. This can be said as the success of visual dynamics resented in this design.


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The simple shape of the bottle, limited colours,  and the simple layout of the design perfectly pair together, thus making it visually appealing. The simple sans serif font used for text makes it legible, by making the eyesight focus on only important text at the first glance.


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The funky, graffiti style fonts, warm colours along with contrasting colours on the labels is visually attractive. Some text on some labels is not much legible though. The strong appeal of the visual dynamics of all the designs attracts the viewers.


 

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The simple, minimal style of the package for a stylus is extremely user-friendly too. The window provides a sneak peak of the stylus inside. The limited colour palette, simple sans serif font along with logo is visually interesting overall and looks extremely professional. The utility is given importance as well.


The unique, intelligently-designed package design has a great utility value also. The attractive scheme of only limited colours and the die-cut petal shapes and cylindrical shapes become not just windows but also the holders of tangerines / oranges. Use of illustration and minimum text is seen. Overall, the visual dynamics is completely successful in catching the attention of viewers, buyers too.


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The package design for a food-catering service is manifesting the warm colour scheme that stimulates appetite. The different style of box-design makes it visually appealing. The placement of logo at the centre balances the visual dynamics throughout the design layout.


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The vibrant red background and the cute illustration of a Japanese girl wearing a Kimono and holding an umbrella is wonderfully reaching out to the viewers. It reflects the culture of Japan. The use of floral pattern represents the beauty. The use of light green colour adds a contrast.


 

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The cute illustration created with sot lines, pale colours along with contrasts on the background of gray colour, is visualy appealing.


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The gloomy ambience and mood is represented through the style of illustration and the pale colours. There is no focus on details in illustration, purposefully.


 

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The background pale colour with pattern of polka dots, the colours overall, silhouette and floral illustrations reflects the retro style. Use of less text using the sans serif font, placement of logo is visually appealing.


 

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The greeting card for the festival in India is designed using retro-styled illustration and repeated colours is inimalistic yet very attractive. The simple serif font is used for text.


 

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The use of floral illustration and single colour on pale background makes this handlettered artwork reflect positive energy through the visuals.


 

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The use of soft and flowing line strokes reflects the cuteness and tenderness of the baby through this illustration. It perfectly touhes the heart of the viewers. The use of facial expressions and gestures in this character design is wonderfully appealing.


 

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The vibrantly colordul, cute, illustration is extremely pleasant and optimistic. It depicts the freedom during the childhood through perfect objects. The layout  of the design conveys a radiant energy to the viewers.


 

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The negative space is wonderfully utilized in this illustration. The cuteness and the love tenderly reflects throughout the illustration.


 

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The poster for a group exhibition of artworks by women artists is energetic with contrasting, complimentary colours throughout. The layout is different than usual.


 

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The package design is unique as compared to the other packages for similar products in the markets. This design manifests black colour as a background, opposite to the trends. It experiments successfully with pairing of limited colour palette and food photography.


 

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The minimalistic style with simple sans serif fonts, food photography and limited colour palette is attractive throughout the layout.


 

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The food photography of spices arranged strategically together is vibrant and stimulates the appetite.


 

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The vintage style or retro style reflects throughout this design of a poster. The colour choice and pairing of serif and sans serif fonts is wonderfully balanced along with the illustration.


 

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The innovativeness and intelligence reflects throughout this poster. The visuals are interesting to catch the attention as the viewers explore the overall design and find many different objects that comprise the illustration representing the art of design.


 

The poster design is catchy, vibrant and full of illustration. The red colour denotes the colour of the planet Mars. The contrast of colours is visually appealing.


 

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The typographic artwork using three colours [red, blue, yellow] on black background of this ad of a chocolate is wonderful piece of graphic design.


 

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The book cover design with partial photograph of a clock and its hands represents the time span or history or past. The Serif font for title of the book and sans serif font for author’s name is perfectly paired, making it easy to read. The limited colour palette makes it visually appealing.


 

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The abstract patterns on the pots provide a perfect and rare contrast to the brown background. The strategic positioning of the pots makes it visually attractive enough.


 

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The wonderful, retro-styled unique poster for an orange-flavoured cold-drink, comprises of a stark contrast of mainly orange-coloured objects on a pale blue background. The main objects are centred, three dimensional in appearance and the warm colours paired with deep blue and green creates energetic appearance overall.