Scouring through Creative Review, I came across an article looking into Jigsaw’s (a luxury British fashion brand) latest advertising campaign. The campaign titled ‘Heart Immigration’ made a rather bold and political statement into the often complicated issue of immigration.
What I love most about their new campaign is their direct and to the point approach. There is no hidden message that can be debated – it is clear that they are in favour of immigration and without it they would not be the company known today.
It shows that sometimes being direct without waffling and having hidden messages is the best way to be. It has potentially to cause a stir, but if it gets people talking about the issue of immigration in a positive manner rather than the usual negative manner then they have achieved their goal. This bold campaign will definitely turn heads and for this makes it a very successful advertising campaign in my opinion.
Below are images of my printed spreads that have been bound together:
I photographed them on the purple paper in order to get the spread to stand out more. I am very pleased with the end result and the overall design of each spread. I think I have considered what each spread is trying to depict in order to create a narrative for the article. I feel that one of the key strengths of the design is the negative space as I have considered it so that helps to control the pace and direct the eye of the reader. Another strength I believe lies in the hierarchy of each element on the page, each one has been considered so the path of eye is directed.
Overall, I am pleased with my design and the progression of the spreads in comparison to where they began. I believe that I have used a range of techniques to achieve the end result which has all been built up throughout the course of the year. I have tried to push myself beyond my comfort zone and have really tried to be ambitious with my imagery and layouts in order to push the way I design forward and develop my skills. Going forward I do believe that i will have a lot more confidence in tackling a brief such as this. I have thoroughly enjoyed the project and have particularly enjoyed editorial design.
Going forward I will take the skills I have learnt and apply them to future projects, particularly in regards to type detailing and hierarchy. I do think that I should have tried a few more layouts in order to fully explore my concept. Nonetheless, I am pleased with the end result.
In response to the feedback I received on my type specimen poster, I went back to make various changes in order to try and improve the overall design.
Here is the final piece:
Based on the feedback I received, I have made a few alterations to the type specimen. The biggest change I have made is extending the letters behind the letter g to stop it feeling so restricted and confined. I have also given some space between the ‘Morris Fuller Benton’ and the ‘1902’ from the extended descender.
However, these changes were implemented not long after Christmas, after receiving my feedback, but upon further reflection now, I still think that the title and letterforms can be pushed further. I think that there are some changes that can be made to strengthen the piece further. I don’t think I fully explored the feedback. Something I aim to resolve.
Unfortunately, I went to try and refine it further but as my laptop has recently broken I was forced to use the computers in the Graphics studio, which did not have Franklin Gothic on any of the machines. Matt tried to help me resolve this but was only able to find one weight meaning I could not make the appropriate adjustments.
This is what it looked like:
As its clear to see in comparison to the one above, this is drastically different and does not look anywhere near as good as the image above.
The feedback I received from Ray regarding the image work was that for the image sets brief, I shouldn’t have researched the subject or examples and that I should have just dived straight in to see what the outcomes would have been. It was an instantaneous task – something I didn’t realise at the time.
Nonetheless, he did say that the work produced was good and showed considered design. Therefore I will not make improvements to the work I have created as I am happy with the images and the feedback in relation to it. I will however, take on board his feedback regarding making work instantaneously for future projects as that could produce some interesting results.
Based on the feedback I received for my ephemera piece, I went about trying to improve my design.
Here is the final piece:
So to improve the design, I have tried to experiment and play with some more of the titles – especially Felix Pfaeffli and Hey Studio. I have also enhanced the callouts by changing some of the words grey and layering key words in order to break them up and enhance what they’re trying to say. I have gone through my type detailing – particularly my rag as that was a problem previously. Finally, I have tried to enhance a sense of hierarchy by making my sub-headings bolder and allowing the callouts to play more in the space.
In comparison to the previous design I do think that it has improved. Although I haven’t made very large changes, I think that the changes I have made have improved it greatly. I think that the altered titles have changed the space and made it much more eye catching. I think that this helps with hierarchy and has made it more playful and experimental. I also think that the callouts look better from before because they’re more playful and the different tones help to enhance what is being said. I feel that the design reflects the content – something I didn’t really consider previously and so looked as if they’d just been placed on the page. They now feel more considered in my opinion.
Overall, I am pleased with the new final outcome. I think that I have responded to the feedback well and have taken more time to consider the small details, which is what I believe has made all the difference.
Progressing on from my initial ideas, I have now gone on to develop my ideas.
I began with working out the size and orientation of the document. I decided to have it portrait and the size I have selected is 432mm x 279mm – this size is equivalent to the American paper size titled; Tabloid. It is widely used for American newspapers and for that reason, I thought that it was rather fitting based on my chosen article.
I have started to play with this layout and placed the text across all three spreads. I am working on a six column grid. I decided to change the title of the article to make it a bit different and to try and make it more relatable, I therefore think that ‘The Falsehood of Our Time’ works well in making it contemporary and not obvious that it’s about Trump.
Looking at the spreads so far I think that the black page in the second spread works well because it helps to break up the pace and also helps to emphasise the call out. I like the repetitive nature of the call out on the final spread but I think that it can be pushed further with it coming off the page perhaps? There is a lot of work needed on the type setting, therefore I will try different point sizes, fonts and placements to see what works best.
After playing around, I printed three sets of spreads with each set having been altered in multiple ways. I decided to use Calibri for the body copy and Britannic Bold for the titles and call outs. After printing the spreads I felt that having three columns for the body copy was far too narrow and awkward to read. I also thought that point size 9 was too small for the size of the document. I then changed to two columns and point size 11, which I thought was too big, I then changed it to point size 10 – keeping the two columns of text – and I thought that worked the strongest. Along with that I think the call out on the final spreads works much stronger with it going off the page as it doesn’t feel as constrained. I also blacked out part of the call out on the second spread to really try and emphasise what the words are saying. I do think it’s strengthened it, but until I get the image on the opposite page, I can’t see how impactful it is.
I now need to work on my imagery for the article to see how it will work alongside the text – I will then be able to work on the design.
For my images I was influenced by the mixed media pieces I had researched; including David Carson’s type work. I wanted to try and create a confused feeling with quotes hidden in the piece for people to try and work at reading. I want it to emulate the confusion that Trump manages to create with his constant allegations and statements.
These are the original paintings I created. I am pleased with the outcomes and I think that these can be worked at to create statement pieces. One key strength I find with these is the texture they provide. I prefer the paintings with the hints of blue and red because they help to create a link to America. They feel gritty and chaotic. My personal favourite is the bottom right painting because it has a good contrast between light and dark, just enough hint of colour and you can really gain a sense of the texture.
Here I added some of Trump’s most well known quotes, whereby I played with the type to try and make it difficult for the reader to read. I think that they have worked very successfully with some elements being easier to see than others. I do think that the second image works better than the first due to the placement of the quotes and also the way the paint bleeds off the page – it feels more natural and authentic.
This is the result of adding the image to the spread.
I think that it works with the article itself as I think it takes an implicit approach. However, I do feel like there’s something missing but I can’t put my finger on it.
Another problem is that there aren’t any paint strokes on any of the other spreads – which means they all feel very separate. I will go and work on the paintings I have made and try to insert them into the other spreads.
I think that the addition of the paint on the third spread works well as it helps to emphasise the distracted feeling, which as a result emphasises the call out used. However, I don’t think that the brush stroke on the first spread works where it is. I am having a lot of trouble with the first spread because I can see that there is too much negative space – but I don’t know what to place there. It still feels very separate to the rest of the magazine.
Tutorial with David:
I did a tile print of my spreads to date and took them to show David for feedback.
He agreed that there was too much negative space on the first spread and suggested celebrating the title more, perhaps trying to circle or cross out certain words. He also said that he did not like the typeface used for the titles as it felt too dated for the piece. He liked that I had changed the brush stroke to go behind the call out to make it stand out. He gave positive remarks about the image on the second spread but suggested I move the callout from the black page and embed it into the image. He thought that the two pages felt quite separate and to try and join them together somehow. In regards to the final spread he liked the repetitive nature of the call out but suggested I make it bigger and more in the reader’s face by having the word ‘distractions’ going across the page.
I am pleased with the feedback because he has given me some ideas of how to strengthen the work. I agree with the majority of the comments, with one or two causing me a little concern simply because I can’t quite see how it will work. Either way I will give it a go and see the outcome.
Here is the first set of amendments made based on David’s feedback. I do like the addition of the paint on the first page – it definitely breaks up the negative space more and connects it to the other spreads, creating a coherency. I do think that the title is a little difficult to read and I don’t know if I like the strikethrough – I will go back and play with it further. With the second spread I don’t think that the call out works with it overlaying the two pages. I think it becomes too illegible and just looks awkward. With the final spread, I like the addition of the word ‘distraction’ – especially in the colour red. However, the word does get lost amongst the other call outs.
I went back to play on the second spread because I really wasn’t happy with it. I have now moved the callout fully on to the page with the image and have added another callout to the adjacent page. I think this composition works much better because the brush stroke on the black page helps to join the two pages together. It also helps to break up some of the negative space, because I think that there was a little too much without the callout being there.
Here is the change I made to the title on the first spread. I changed the typeface to white and physically drew over it rather than just using the strikethrough. I think that this works better because the type is much more legible and the hand drawn effect works in relation to the painted pieces throughout. It gives it a more organic feel. I have also changed the typeface, which in reflection, was a good decision. Now that I have changed it, I can see the point that David was making. I think that this is much more contemporary and also quite authoritative compared to my previous choice.
When I presented these changes for formative feedback, the feedback I received was mostly positive. However there were still some alterations suggested to me. One being that the paint strokes on the first double page spread felt too confined and like it had just been placed on because when comparing it with the image on the second spread, the paint bleeds off the page, making it look more natural. Another suggestion was to draw on the callout on the second spread like I did on the title in the first spread. For the final spread many said that the word ‘distractions’ was not big enough and was too difficult to read and to again try and push that further. They also suggested adding in another callout into the body copy to try and break it up a bit more.
These are the changes made to the spreads in regards to the feedback I received. In comparison to what I had previously – I do think that these immediately look stronger. I think that having the paint bleed off definitely makes it look more natural and corresponds to the other spreads better. However, I do think that the standfirst looks quite tight in the space – something David pointed out to me. I also think that the drawn on effect on the callout on the second spread fits in better with the image and also the article itself. I think that this addition works well and I wonder whether it can be added to the final spread. Although I think that enlarging the word ‘distractions’ has definitely strengthened it – I think that it could be pushed that little bit further.
The Final Spreads:
These are my final spreads. I am pleased with the overall result. I think that the addition of the circle around the word ‘distractions’ has really made it the centre focus and underpinned what the text is saying. In a way it sums up the article. I also think that the first spread has used the space more effectively, with the standfirst having more room to breathe – as well as the body copy.
Compared to where I began, I now think that all three spreads work together and do not feel so separate from one another. Although each spread is different, each use similar elements throughout in order to create a consistency. I think that the approach I have taken is not an obvious one and one would not initially relate it to Donald Trump. I like this about it because I think it makes it more interesting and the nature of the imagery pulls you in.
On 29/05 David provided feedback based on the spreads submitted. On the whole I was extremely pleased with what was said. I was complimented on numerous elements of both the design and typesetting. However, he did state that my final spread felt unresolved and that there is an awkwardness attached to it that doesn’t occur in the other spreads.
I have since reviewed my spreads alongside my feedback and I can sort of see what was meant. I think that the large ‘distractions’ is what’s causing the awkwardness – it is very large and slaps the viewer in the face, which is something that doesn’t occur in the other spreads.
To try and develop my piece from the feedback received, I changed the text in the centre to read ‘a lot of distractions’. Although it is only a small change, I do think that it has improved the layout. It is still loud, but doesn’t scream to the viewer. I think that this is a more appropriate representation of Trump. I want it to reflect his brash nature and his disregarding ways to anything he disagrees with. Personally, I don’t think that I could have done much more with this spread without overcomplicating it and overworking it. I am pleased with its outcome and the small change made. I did begin by trying to scribble over the word but that was painful to look at – it just became messy.
From selecting my article I have began to develop some ideas on behalf of the article.
I started by sketching anything that stuck out to me from the article quite roughly just to gain a sense of what could be played with and whether it would spark anything.
I started by playing with the words ‘truth’ and ‘lie’ in a range of typographic styles to see what would potentially work best. I quite liked the bold, sketchy style of the word truth because I think it relates to the words Trump speaks, he is both bold and rather sketchy with his statements. However, I also like the way the word lie wraps around the word truth, giving the illusion that it is difficult to separate the two. I do think that it can be improved and pushed further however, because it is too neat and pretty – something Trump’s statements are not – they are designed to aggravate.
From this I then went on to consider material use and what form of imagery I could use. A lot of inspiration has derived from my research and David Carson’s work and therefore a lot of my ideas involve layering text with imagery and creating confusion within that.
I want to convey the sense of confusion and chaos with some information being interwoven in the imagery but making it difficult for the reader to work out what it is. I think that this will pinpoint the essence of the of the article. I therefore think that mark-making layered with typography will be the best option for the imagery.
I am also considering the idea of creating layers by ripping pages and physically creating the sense of confusion. This also applies with potentially using tracing paper to create layers.
I created a few layout spread ideas just to try and gain an idea for the layout itself as I have focused a lot on the imagery element. I stopped after the third design idea because I realised that I could go on and on creating layout designs and potentially forget what I am trying to communicate. I therefore I think the best thing for me to do is to go on to InDesign, get all the text on a document and begin to work out a solid grid system, what typefaces to use and separate the text over the three spreads so that I know what each spread is discussing.
Overall I am pleased with my initial ideas and I think that I have deconstructed the text well, developing ideas that have a strong relationship with the text. I do think however, that I need to speed up the pace on my work and actually get designing. In reflection, I think I have spent a little more time researching than what I should have and for future projects I will create a timetable and set dates to complete various tasks by.
Going forward I will now develop my ideas and concepts and print them off to see what works best.
Group tutorial with Matt:
When I had my group tutorial with Matt, I discussed my thoughts and ideas and he suggested to push the concept further, I could potentially distort the actual layout of the editorial to create a sense of confusion within that as well as the imagery. I do like his idea and it is something that I will explore further alongside my original idea. My concern is that as editorial design is new to me, I do not feel I know the rules enough to be able to break them yet. I am also worried that if I push the design too far that it will become a mess and too illegible to for the viewer to read.