Project 4: Detailed Sketches

a4-sketch-1

The first sketch above uses a more familiar International Typographic Style grid, with three columns, and each area of text coming off of the central column. The design would use sans serif character synonymous with the movement, and would also hopefully communicate the message effectively.

 

a4-sketch-2

The second option above would use four coloured numbers which would be overlayed to create a strong graphic effect. The three areas of text would then be placed amongst the gaps left by the numbers. This option wouldn’t leave room for images, but could potentially provide an interesting way to communicate the message, in fitting with the International Typographic Style of the 1940s.

 

a4-sketch-3

The final option above would use three triangles of primary colour as the base of the design. This layout would be asymmetrical, with the images and text taking on irregular shapes, which could potentially add some dynamism to the composition. The images would have a difference filter applied to leave a more muted effect, and there would potentially be a lot of contrast between the weights and sizes of the headings and body text.

From here I’m hoping to narrow my choice down to my final option, and from there work on it digitally to see how the sketch could be applied to the final layout!

Researching Project 2

This week I have begun working on project 2, which is a group project. We were asked to create a typographic poster featuring a quote, and each of us had different limitations placed on how many fonts, colours, and sizes we could use to create it. The quote my group was given is as follows:

‘To push the boundaries, you need to know where the edges are’

Mark Boulton

My restrictions are that I can only use one typeface, but have unlimited use of point size and colours. I’ve begun researching how I can approach this project, and I think I want something quite unique if possible. I’ve found a few great examples of different ways I could approach this:

1_Paul Rand Quote Poster_Pinterest

2_Bad Typography_Pinterest

3_Interesting Questions_Behance

4_Information is not Knowledge_Pinterest

5_New York_Behance

6_Wings_Behance

So a lot of different ideas here to take inspiration from! Hopefully I can find a solution that also ties into the ideas of my other group members.

 

References for the above images are below:

Robertson, K. n.d., ‘Paul Rand’ [image], Paul Rand in Daniel Bear Hunley’s Typography and Lettering Board, Pinterest, viewed 4th August 2016, https://au.pinterest.com/pin/67905906862084857/
‘Bad Design’ [image] n.d., Bad Design in Canva’s Poster Designs Board, Pinterest, viewed 4th August 2016, https://au.pinterest.com/pin/190066046751184311/
Crossfield, R. 2013, ‘Interesting Questions’ [image], Interesting Questions, Behance, viewed 4th August 2016, https://www.behance.net/gallery/10562075/Interesting-Questions
Hansen, W. 2016, ‘Information is not Knowledge, is not Wisdom’ [image], Information is not Knowledge, Behance, viewed, 4th August 2016, https://www.behance.net/gallery/41122627/Information-is-not-Knowledge-is-not-Wisdom
Barber, A. 2013, ‘Ogilvy New York Quote’ [image], Ogilvy New York Quote, Behance, viewed 4th August 2016, https://www.behance.net/gallery/12020637/Ogilvy-New-York-Quote
Henson, P. 2015, ‘Letterpress Project’ [image], Letterpress Project, Behance, viewed 4th August 2016, https://www.behance.net/gallery/10028085/Letterpress-Project
‘Think Outside the Box’ n.d., Think Outside the Box in Francina Pluut’s Teksten Board, Pinterest, viewed 4th August 2016, https://au.pinterest.com/pin/343681015296566832/

Week 12: Finishing Up

This week has really been about finishing up assignments and getting everything ready to submit. I’ve thankfully finished all four of my rhetoric posters for project 3!

addition

This is my addition poster which uses opposition to “bring together elements which are in opposition to each other” (Dyer 2008, p. 133). I also think that this particular poster could also represent similarity as well, with the similarity being the tree, and the difference being the state of it.

 

suppression

This is my finished suppression poster. This one uses circumlocution as its main rhetorical figure, which involves part of a figure being left out, but linked to another through similarity (Dyer 2008, p. 138). The suppression here is obviously the tiger, and is linked to its outline through the similarity of form, and also its environment.

substitution

My finished substitution poster. This one uses substitution of similar elements as its main figure. It uses metaphor, which includes transference of meaning form one context to another (Dyer 2008, p. 143). The metaphor here is the city as a symbol for progress which has led to deforestation of the bear’s natural habitat.

exchange

And finally my poster for figures of exchange. This poster uses oxymoron, a message “where two elements remain contradictory” (Dyer 2008, p. 146). Here the two elements are the arctic natives, the polar bear and penguins, and the tropical island. This is used to represent the melting of ice which is leading to loss of habitat for these two animals.

The overarching theme for my posters has been the impact of anthropogenic global warming on animals, and I’ve tried to create a unified series of posters to reflect this message throughout. I’m hoping they reflect each figure of rhetoric accurately in their execution, and create a series of posters which also make sense as a whole.

 

Reference List:

Dyer, G 2008, Advertising as Communication, Taylor and Francis, Florence.

 

Figures of Substitution

This week’s learning centred around figures of substitution. This can be broken down into the following categories, and I’ve found an example of each used in advertising.

 

Identical Substitution: An image is used to replace another; the juxtaposition provides interest.

Identical Substitution Ad

Substitution of Similar Elements: Used to compare; one element stands in for another.

Similar Elements Ad

Substitution of Different Elements: A detail or part stand in for the whole, with examples being metonymy and synecdoche respectively.

Different Elements Ad

Substitution of Opposing Elements: Paraphrasis as a roundabout way of saying something; a euphemism as an understated way of saying something and antomasia being an epithet substituted for a proper name.

Opposing Elements Ad

False Homology: Puns which are plays on words.

False Homology Ad

Project 3 Progress:

I’ve been developing ideas for my posters, and have come up with a few different concepts. The first uses animals in each poster to represent the loss of habitat resulting from anthropogenic global warming. The tagline asks viewers to interact with the scene, asking a question in each to tie all of the different images together. draft sketch 1

The second is probably my preferred option at the moment, and it involves creating animals out of different types of garbage, the idea being to discuss ways to recycle and recuse waste to reduce the impact on their habitats. Not sure what the tagline will be at the moment, but all four will use the theme of ‘garbage animals’, so to speak, to tie them together.

draft sketch 2_croppeddraft sketch 3_cropped

I’m interested in using the metaphor when creating my figures of substitution poster. I think this quote I found during my research really describes the unique position metaphors inhabit in advertising: “More interpretive effort is required in making sense of metaphors than of more literal signifiers, but this interpretive effort may be experienced as pleasurable. While metaphors may require an imaginative leap in their initial use… many metaphors become so habitually employed that they are no longer perceived as being metaphors at all.” (Chandler 2007, p 127).

 

Reference List:

3M (n.d.), ‘Lint Roller’ [image], 25 New Creative Advertisements, Pinterest, viewed 25th January 2016, https://www.pinterest.com/pin/182255116146822557/

Chandler, D 2007, Semiotics: The Basics, Taylor and Francis, Florence

Mcdonalds (n.d.), ‘Macca’s’ [image], Maccas- It’s Australian for McDonalds, Pinterest, viewed 25th January 2016, https://www.pinterest.com/pin/381961612126837314/

Ricola (n.d.), ‘She’s (cough) just a friend’ [image], Ricola: She’s (Cough) Just a Friend, Pinterest, viewed 25th January 2016, https://www.pinterest.com/pin/287315651203037902/

Tabasco (n.d.), ‘Grenade’ [image], Tabasco Grenade, Pinterest, viewed 25th January 2016, https://www.pinterest.com/pin/298082069066706934/

Tiket (n.d.), ‘Tiket.com’ [image], Tiket.com, Pinterest, viewed 25th January 2016, https://www.pinterest.com/pin/372672937894859114/

 

 

Figures of Suppression

This week’s learning centred on figures of suspension. I’ve included a brief description of the five different categories of suspension below:

  1. Ellipsis: An element is continually missing and becomes obvious in its absence.
  2. Circumlocution: Part of object is left out but linked to another through similarity.
  3. Suspension: Part of the message is held back, not revealed immediately.
  4. Tautology: A word is repeated but used in a different sense, its second use attracts attention in its redundancy.
  5. Preterition: When an advertisement feigns a secret.

 

I’ve found an example demonstrating ellipsis below:

Charity Water Ad

In this example an element is continually left out in an obvious fashion. Here, as Durand states (Durand 1987) ‘…the reader must understand that something is missing… and then guess what is missing.’ In this case, even though the text reveals this missing element, the ad still acts as a riddle the viewer will take pleasure in solving (Hoeken, et. al 2009) by looking at the images first.

 Project 3 Progress:

At the moment I’ve been doing research into other advertisements looking at global warming. I’m also hoping to get started researching the issue in depth to determine which way I want to go when producing my posters.

 

Reference List

Charity Water (n.d.), ‘Water Changes Everything’ [image], Water Changes Everything, Pinterest, viewed 19th January 2016, https://www.pinterest.com/explore/charity-water/

Durand, J 1987, ‘Rhetorical Figures’, in J Umiker Seobeok (ed.), Marketing and Semiotics: New Directions in the Study of Signs for Sale, De Gruyeter, ePub, pp. 295-319.

Hoeken, H, Swanepoel, P, Saal, E, & Jansen, C 2009, ‘Using Message Form to Stimulate Conversations: The Case of Tropes’, Communication Theory (10503293), vol. 19, no. 1, pp. 49-65.

Figures of Addition

This week we’ve been learning about figures of addition. This can be further categorised into five sub categories, and I’ve included a short definition of each of these below:

Repetition: Repeating the same word, sound or group of words (Dyer 2008, p 129), or visual elements.

Similarity: Similarity of form or content; their difference is used to compare like objects.

Accumulation: An image made of a build-up of different elements conveying “abundance and quantity or disorder and chaos” (Dyer 2008, p 133).

Opposition: An image with a common theme between otherwise contrasting elements, and is used to attract attention.

Double meaning, ambiguity and paradox: These “play on the opposition between appearance and reality” (Dyer 2008, p 133). In double meaning similarity conceals difference; conversely in paradox, difference “conceals a real identity or sameness” (Dyer 2008, p 133).

I’ve also been looking at project 3 this week, and have decided to go with the topic of anthropogenic global warming.

Head in Sand image

This image is an interesting take on global warming advertising, and uses the figures of addition, particularly repetition and accumulation, to create a very impactful image. Something like this could be an interesting way to approach project three for the poster using figures of addition.

 

Reference List:

Dyer, R 2008, Advertising as Communication, Taylor and Francis, Florence.

Rouse (n.d.), ‘The world on Climate Change’ [image], The One Picture That Perfectly Sums Up World Action on Climate Change, Pinterest, viewed 12th January 2015, https://www.pinterest.com/pin/502292164665784426/