ABD_CH07_design principles

ABD_CH07_design principles - 124 Grannic lmnact: “85m”...

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Unformatted text preview: 124 Grannic lmnact: “85m” Princinles The Design Process Sketches Once your research is completed, you sketch to give Form to your ideas. Many people create thumbnail sketchesmsmall rough sketches—during the initial stage of the design process. Some use a pencil or market; some create their thumbnails right on the computer. Either way, it’s an important phase. Many students are tempted to create one bigger design on the computer, but that’s a danger in that it tends to inhibit the generation of other solutions, exploration, and experimentation. Experimentation It’s in the initial design stage that you can wildly explore. Try anything andiieverything that serves your advertising idea and the client’s brand. Part of the fun of being an art director or designer is experimenting. intuition and Feelings Another part of being a creative professional is trusting your uinner artist,” that little voice suggesting the most creative solutions. Trusting your talent, your training, and your creative hunches is what makes you a creative individual. Creativity and Risk Most children are creative; they make random associations, mix metaphors, combine things into new arrangements. Somehow we lose that to rational thought as we become adults. Fearmthe Fear of taking risks and appearing foolish~also causes us to lose our creative incli» nation. Risk taking is good; it stretches a designer’s limits. Stay open—minded. Roughs Once you’ve created a good number of thumbnails, it’s time to turn a few of them into roughs. Thanks to computer technology, most roughs don’t look rough; they look like slick, professionally printed pieces. The advantage to this is that you can very clearly see what the piece will look like. The disadvantage is that this same finished look seems to inhibit rework» ing things, Don’t be seduced by the slicknessmlteep designing. Keep working on the arrangement, and especially on the typography. Depending upon the advertising agency or design studio, you may show either thumb» nails or troughs to your creative director. You’ll get her input and then go back to designing some more. You’ll probably get input from others as well, including your partner, the copy4 writer, and perhaps an associate creative director or other team members. Comps Once your creative director has approved your design. you create Final comprehensives (comps) to show your client. After your client gives his input, you‘ll probably have to do some additional designing. It’s rare that a client says, “That’s perfect! Let’s print it.” More often than not, the design process involves redesigning. Composition: Critical Principles of Design You may have terrific advertising ideas in your head, but to be an art director. you need design skills and the sensibility to communicate your ideas. Line. color, shape, type, texture, Form, pattern, light, spacewthe elements of design visually interact to shout or whisper ideas and emotions. Design for advertising has a main thrust; combined with words, it stim» ulates perceptions in order to sell products, services, and ideas. The way you create, select, and arrange everythingwthe type, visuals, and graphic ele— merits—in an ad or graphic design piece is design. It’s the composition or arrangement. The design is part and parcel of your concept, your idea, and helps to communicate the idea. Format Whether it’s a magazine ad or a computer screen, whatever substrate you start out with is the fiarmat, a vital element in two‘dimensional design. Brochures, posters, video screens, and outdoor boards are just a few of the many formats designers use. Formats come in a variety of shapes. Most are rectangular. There are standard rectangles (for example, a standardvsize magazine page), which are not extremely long in any one direc~ tion, and elongated rectangles, which are much longer in one direction, either vertical or horizontal (such as a magazine spread of two facing pages or an outdoor board). For exam— ple, a poster for Spyke Beer is an elongated vertical format (figure 7‘1). The shape of the For‘ mat influences the use of the other formal elements, such as line and shape, as well as com‘ positional decisions. Designing on a computer screen, a standard~size rectangle, is a differ~ our experience from composing and designing on a folded brochure that opens into an extended horizontal. How do you learn to compose within differently shaped formats well, appropriately, and to your advantage? The best way to learn about the inherent energy and distinctions of for» mats is to explore them, play with their boundaries, and design within them. ?—1 “Lab Rats“ Agency: Butler. Shine & Stem/Sausalito Creative Team; Ha; Auda. Mike Shine fittest: Anheuser Busch/Sayre © 2003 Butler, Shine & Stern This interesting composition makes great use of an elongated format, liiflfllllfi impact: 895W Principles 125 $2 “Freezers” agency: Forsman 8. Bodeniors/Gomenourg so Bireerors: Anders Ekiino. Andreas Maim, Mikko Timonen Cesywriters: Johan Oiivero, Filip Niissoo Photographer: Henrik Bonevier fitient: Volvo Cars Sweden This humorous ad utilizes a symmetric composition to make a point about Volvo’s ability. 125 advertising in: {lesion Balance Viewers need to feel or sense balance in order to comfortably engage with the arrangement and to believe the design is complete. A design that is poorly balanced might frustrate view~ ers, making them feel uncomfortable and possibly dismiss the message. Combining the principles of balance with other design principles will ensure that your compositions func~ tion harmoniously and deliver the message you intend. Symmetry A symmetric design uses similar or identical elements arranged on two sides olian imaginary horizontal or vertical axis so that each side of the composition is a mirror image of the other. The resulting arrangement is orderly and Feels stable. Symmetry works favorably because of the strong sense of stability it projects. This feeling can be tapped to contribute to or rein~ force the expressiveness of a design. Asymmetry An asymmetric design has a balance of visual weights, but the arrangement is not Formalized around a central axis. Asymmetry relies on a complex positioning and interaction ol~ dissimilar elements to arrive at a sense of equilibrium throughout the arrangement. Any composition that is balanced and not symmetric is asymmetric. The asymmetric design challenges the viewer to search and discover the compositional balance. The balance created through an asymmetric composition is not as obvious as a symmetric one. Asymmetry’s dynamic nature commands attention as well as actively engages the viewer. Asymmetric designs can help express a feeling or define your message. Compare the compositions in two cleverly creative ads in the same cam» paign-~onc is symmetric and the other is asymmetric (figures 7-2, 733). In another ad in the campaign, “\Where Did We Park the Car?,” the visual is almost symmetric; however, the line is positioned at the left, balanced by the claim in the upper right‘hand corner and the product name in the lower right~hand corner, making the composition asymmetrical (figure 74). Here’s the key: Whether on paper or computer screen, a viewer who is comfortable and engaged with a composition is likely to remain interested. .- -J $3 “Sam Ben" figem’g: Forsman & BUGeninrs/Gatnenburg Art 13mm: Anders Ekimd. Andieas Mam? Mikkcr Timman Esaywmm: Johan Olivero Filip Niissoi': Phomgragher: Jesper Branai Giant: Volvo Cars Swede? Equafing driving in a convertible to getting a tan on the beach, this ad's amusing drama is enhanced by the asymmetric composition, ‘54 “Where Did We Park the Car?" Agency: Forsman & Badeniorstoihenburg Ari Dimming Andm Eklind Andreas M85571. Mikka Timoner; Cogywriters: Janan OIIVBIQ Filip NIISSQF Phntflgraphei: Siéberg Photo Agency Ciiem: Valve Cars Sweden Using humor, this ad iiiustrams a vehicle’s abiity to go trimth extreme terrain, '" vulva u'fiss'm Gfflflhit “MEET: 98533" PfiflCiiBS 127 128 Havetrisinq m; Besign Positive/Negative Shapes and Space In a successfill positive/negative relationship, the positive (visuals, type, graphic elements) and the negative (space between and around positive elements) are interdependent and interactive, No space should go unconsideted. Dam! space refers to hlank areas that are not actively W0fl£~ ing in the overall design; this does mt mean that all blank space must be filled. (Most visually unsophisticated clients would prefer that you fill every available: space, believing that they are getting more design for their money.) A designer must be constantly aware of the blank spaces and make them work in the design, as does designer Paula Schet in the poster “Dancing on Her Knees,” created for the Public Theater in New York (figure 735). Notice the way the leg, in this poster leads to the title of the play, Dancing on Her Knees. Directing the viewer‘s eyes with the placement of elcmentwthat is, how one element leads to anotherwalso helps estal» lish a visual hierarchy (discussed in the next section). Actively dividing the space contributes to a dynamic composition. Both positive and negative shapes become active in a symmetric poster by Luha Lukova (figure 743}; acting as both a nuclear cloud and a backdrop between the figures, the black shape is forceful. Considering all the space actively Forces you to consider the whale space. Think of it as holistic design. mmmmm m ImM-omm-uwawmwmcmamnlm #— war is not Ihe answer ?»5 “Dancing on Her Knees” Stnééa' Pewtagramftéew Yon: Creatite QitectotiParmgt: Paula Stile: (3:932: Putilzt Trieste: Not only does the batkgtnund become an active participant due to the color and division of space, but one element directs our eyes to the next. if; “Wat is Not the Answer“ Stunts: Luba Lukgva SlUGlU Designat: tuba Lutova Client NBA Oriando Lima tukova Lukova treats all space. both positive and negative. as active— yielding very dramatic communication. Brannst impact: Resign Puntinles 129 2V? “Japanese” agency: Butler Shine & Siem/Sausaiito {treatise team: Brad Wood. Ryan Elmer attest: Valor Tours @2 2003 Butler. Shine & Stem Often, the art director must include a great deal of information in one ad. That’s when visual hierarchy is key to communication. 130 advertising in Basin Visual Hierarchy Wharf: the main message? What} the are! trying to tell 2176.95.91! me? Where am I on} it? Whom do I (all? From every ad, a reader tries to glean information. lfan ad does not have a visual hierv archy. then the reader will have a very difficult time getting information, and will probably give up trying. For example, in Butler, Shine (‘56 Stern’s ad for Valor Tours, there is a great deal of information and Four images (figure 77). Without a visual hierarchy, we wouldn’t be able to get the advertising message easily. First we look at the center, boxed headline; sec~ ond, at the biggest photograph; third, at the smaller two photographs at top; then we go on to the body copy; and finally, we move to the bottom right~hand corner. More importantly, if there is no visual hierarchy, the ad will, in almost all cases, look chaotic and not attract readers in the first place. In an ad, the most important information is the message communicated by the combi~ nation of the line (headline) and visual. However, the viewer‘s eyes can go to only one place at a time, so the designer should arrange all the elements within the composition to allow the viewer to move effortlessly from one element to another. Even though it is the cooper ative action of the headline and visual that communicates the ad message, the viewer will tend to look at one before the other. Either the Visual or the line should be the local point. After that, some people read the body copy, and most people, iiiengaged by the main mes, sage, look at the sign-oilf (claim, logo, or product shot). Certainly, the goal is to design such a compelling ad that the reader takes in all the information, including the body copy. In posters that advertise events, there is additional important information that must be accessible, such as the date, time, and location of the event. In public service advertising there is usually a phone number or ‘Web address. All information must be arranged into a visual hierarchy. The art director or designer is responsible For arranging all the elements so that there is a main focus or focal point, which is usually the main ad message, and then subsequent information. What do you want the reader to see first? Second? Third? Fourth? In Richter 7’s dramatic ad for WCF, there is a clear visual hierarchy (figure 78). First we see the hand, second the headline, third the subheadline, then the body copy, and finally the logo. T2...........,.....m wamwmwwtwm’ on name at, mt. at. as gum (they, “mm. w.» in mm»; rm gr: saw. at»: asme A» m; mum AM do Mr» as. my swim»; » rm 6 await»: Wummwm wahrmnwhkfiahwmwlwwewimxfewgué-nnim.mWu or”. mas: m was we» «do Mar, or». $83! flair or» want er gm mm». test! so: swat s cam my ‘3‘ “WW win n. W“, «no kirk: “Mt/$3 on of flour hum mm M no mm «1 "visas; ems amend“ H54, the m m u m to“ «we W. m m»; be; an; m; IIQMk rims} wi mm am. M M mi. stair w a» m; sm- a via-c m? «a mum; to mom: no. mm and «44 km. 1 in. wt. u awry. 6» on éofiw’c m a Wan «MMEWXJWW we Hmfifiuwwmt (WMHWWIW fire sesutrs tie ? a: was two lists “ rm-wm,wwmm mi mugs mum «my. I fiéfi 5?21;!. E ’32“)??? Yfibsi" to“ finned; sea-am 130% 9‘.” ppm was on a. For: guesses. we‘re; tens sesame EAFAfififisg Wmmhmflw immunommm vi a» W “flat our”, 2:» «M mm. Mus» mmwsmm :hadafltnélflflfimmle Why 89;: m. no; mu W W mm m. mm» .us we to m. . . , creationism: - I Hm V tam MWWN essay».de nmrrplmafibnmqffim rm rathtmnstenmmwanw MRQQMW. tamawmmw-uamnugmtwkmmm .rmmmwwnumiwmrmtwrmmmew»thr .wsmamignfimwmthmmwwwwwysmmtphm N‘nkrfiny It’s the designer’s job to control ths ordcar in which type and Visuals are seen by the radar, fiver} whén them is a grfifat deal (bf type, as in Hunt Adkins’ ad For American Skandia (figure 74)). In this ad, first we read the‘ headline; than our eyes mcwe to the left»han<l column. The Visuals inset into thc body capy help movs our eyes From column :0 column and then finally (0 thfi Signwoffflofthe logo and tagline. 33131339135 mmwngum LONG. ‘VOUG wumawaw ! gunman-um-.. mammal-m win—anoint»... mMMImMpw-a, “Wnkflwm " “Max's-fits“: mmwwww whammueu immwu mwoedimtnumnn «muuuww mméumnug fits-mums.” mun» ' fimmdfiaw as“... mdhuucadwiu-(xd nun-w» m was» s. m; «Au _ “bl may“ ism waedw 7 WWNIWVM Wmedswm aim-oywmm l mm»u.w~ 2 l LWWMWMMMVw WWW“ mmumwmy. flywwaemrw Mm Mlfimd wm~msyww m W mat-warm MMQflun’mJ/M.» wéwmdymfilmw fiwmlt-mv-u‘mw mama—.9 mop-«am .4 RI NEW [nu-g... —.--—.—.'.. ——.-.-——«...........n... n. 3......“ Hfl-‘n—nrs. h.-.III-H—--—-\-.‘ a..__..~....-—.a---n_....— . whi—*-—’n_d‘u—.‘o—_~ .— .........r......_...... WI} gm... ,_...u.......,_ ,7 l l 1 g l l I l I ll vantmmm" muqc-u‘munhm gaff-7.5% I .. .... h)“—-Q—uhnn ‘ -u...~....-.u... .. 1-d— 743 Financial services Company Ageacyt Hunt AdkinsfMinneamlis Cyeaiwe Directarzfiegywriter; Dnug Adkins Assaciaie Cteafive Simmer/Ari fiérester: Steve Mitchell Phoingragher: Joe Lamm Chem: American Skandia The layout conveys the message “Trust us,“ in essence saying, "We know what we’re talking about,” and the wit makes an investment company feel friendlierl ?~8 "Four 0m 0! Five" Aganay: Ruchter 7/53“ Lake 93!}: Creative Macias: T C Chriszgnsen Ari Déresms: Ryan Andersmz Caaywritey: Em; Gutietre: Phaéegmgher: Ma: GOUHEy’ Chant: Workeis Compensation Funij This is a great example of the an director being able to steer the viewer’s eyeg very effectively from one element is another in the composition. manic {munch Resign Principles 131 In a magazine ad, creating a meaningful hierarchical relationship between tha main line (headline) and visual is a delicata balancing act. The designer must consider: ' Format ' Scale (size relationships between type and imagés) - Weight of type ' Size ofiall the type, including the lint: and body copy ‘ Arrangement: (cnmposition) - Color and value fifilal ilfib “PW, "Stare at It” gigging: Carmichaal Lynch/Minagamlis irgatéve Diiegtar: Brian Ktaening mu m m Ari {fireman llamas Clam; Eagywnzer: Miahael Atkinson aw :w «m w u Fnazggiasher: Ron Crafoel iiéem: American Standard The design and concept behind this campaign changed consumers’ perception 0f American Standard fmm institutmnai to stylish. 9m.» u .: Icing “a”. ma u mm: :5 max mo : nun 132 Havemsmg nu Design In an ad that has no or very little copy—“Where the entire message is communicated by the visualmthe visual must have a main focal point and, if necessary, secondary and perhaps additional levels of Focal points. Turning bathroom fixtures into beautiful art objects, ads for American Standard use the fixture as the main focal point (figures 7-10:1, ,7«th). If a visual is carrying the entire responsibility of communicating the ad message, then it must he care» Fully created or selected, with care given to the visual hierarchy of the elements in the image. In an ad where there is copy and no visual, visual hierarchy is paramount. Unity and Varieg A design must hold together. A design has 2min when the elements look as though they belong together. How does a designer get the entire ad or Web site or direct mail piece to work as a Whole, to look unified? One of the most important factors afflicting unity is correspondence, that is, connections among all the elements. When elements, such as color, texture, a font, imagery, and direc~ tion, are repeated, then correspondence is established. Our eyes and mind expect some type of repetition; we have various types of memory, hierarchical perception, pattern recognition, and associative processes. Mike Quon uses fiat shapes to create both the positive forms (dove and war plane) and the background shapes and a font that is perceived as flat shapes to cre» ate correspondence among all the elements in the stirring “Peace Poster” (figure 7~1 1). In the “Printed W'ornan” exhibition poster, flat shapes with white lines that describe details '1311 i _' Peace Faster . -. : Agency: Desolation/New Yeti: ' I Art Director/Designer: Mike Dunn © Mike Dunn 2002 Unity is established in this poster by utilizing a similar vocabulary of forms and by establishing flow from one element to another, lilflfllllll Impact: Design PllflClDlES 133 Within them are combined with hand lettering in whim sstablishing unity beatween (hf: visuai and the typographia design (figure W12)~ Thére are many ways to create unity in the design 05;: single ad» Elements may be: repeated in the degign, Color alone can create an amazingly powzirful cmrespondence throughout a I‘ x, if , désign. Integrating elements so that they seem cemplctely united greatly contribdté‘s In How, €42 j‘The Primed Woman" Emma: Luna Lukava Sludm Sesigfier: Luisa Lukova Ciéeaiz La MaMa em Luna Lukava Often, Lukova uses her own hand~ drawn lettering to erasure that the type and visuafi act in concert, to cammumcate expressway. “Inn-mum "Rim", gm...” .— _,.’ -h‘flw- A.on u».- :-:-.4-.=ug unw- 74 3 “Hands” Agency: Butter. Shme & Stem/Sausafito fireative Team: Naihan Naylor‘ Mike Shine, Nicoie Micheis CSient: N anaio © 2003 Butter, Shine & Stem The visua! and type‘ in this ad, are conceived tagether t0 contribute ta flow and unity. Some, 643 We Main ways *1: achieve 0min. : CeweSpcuAence - II, *W~fimw~—- Themfic evocesses Repefifiau a? am eiewzvd' in siighfly «keyed {low air Various raids in We design Type afigumeui- Comfimiw ($amiiy vesem’niance among eiemeui-s} Flaw av moveweuir by «wangeweuiv a? demeui's 134 advertising nunesign 'mm—m-mli-n rw-u‘ -.~Lr-wnu.-.-u-.-I-:-!r as in the “Hands” ad for ll Fornaio (figure :7'13). Flow is the ease oi‘movement from one ole» rnent to another in a composition. Establishing unity within a campaign (a series of ads) is a similar process. One must have corresponding elements in the ads, such as color palette, fonts, type alignment, and compo- sitional templates. as in Hunt Adkins" entertaining campaign for the Minnesota Twins (figures 71143, T/‘vlébl In the American Standard campaign (see figure 7310), the color palette, lighting, theme, and type arrangements all contribute to correspondence among the ads. Although there is some variety in the template, the entire campaign has a unified look. While all the objects and images change in the campaign {or Plasmon (see figure 7322), the template and theme remain constant. (See also Chapter 9, on the ad campaign.) Even within a series of ads, one can establish unity with variety. In music, continuity and discontinuity, in varying degrees, are used as a basic structuring dimension. The same holds for design. Variety is necessary to break continuity and create Visual interest. You always want a visual surprise. Steven Brower, the creative director oi.,Print magazine, says editorial design is about creating unity and discord to surprise the reader. Some level of discontinuity makes the entire piece more perceivable. Unity must be maintained in television commercials, W’eb films, and Web sites as well. The Web site for the Polynesian Cultural Center establishes unity from screen to screen by keeping certain elements in the same position on the screen, which gives the user a good sense of “geography” (figures 7115a, 7~15b). Variety is also crucial in TV spots and on the \Xfeb. we spend more time watching something unfold on television or moving through Web pages. Shifting things, Whether it’s the sound or the lighting or the cuts, While maintaining an underlying template or look can, make things less boring. Int. inn minus; ‘s 1148. HQ; “Koskie” “Guzman” Agents: Hum Adkinsianeapnéls Creative arresterifienmritet: Doug Atlkins Resonate Erasure Girsetsnért Erector Steve Mitchell Ciisnt: Minnesota Twms The visual surpriseswa log as a bat, winged shoeswwork cooperatively with the lines to communicate the ad concept of getting to know the Twins. . ..,.EET_'T[I - runs if”: _ . 31mins trauma Impact: Besigu Principles 135 136 ?»‘§§a. ‘5»?3!) Web site senses: Richter Kigali Lake City emotive Shorter: ii 5, Christensen eeségsers: Mike Durante, Ryan Anderson Cartwrirsr: Dave Newooid Siésnt: Poiynosian Cuiiorai Center Creating visual correspondence among the pages, unity throughout the entire work, and rhythm and flow from page to page is crucial, Providing a sense of iocation for the visitor is equaiiy important. advertising in; resign Rhythm Whether you call it the “beat” or the “pulse,” every design has rhythm. There should be an underlying tempo and meter that sets a pace and consequently a feeling. Elements can be arranged so that: they are perceived at a rapid rate, at :1 slow rate, or at a rare that varies. Rhythm is :1 pattern that is created by repeating or varying elements, with corn sideration given to the space between them, and by establishing a sense of movc‘ motor from one element to another. The key to establishing rhythm in design is to understand the dilierence between repetition and variation. Repetition occurs when you repeat visual elements with some or total consistency. Variation can be established by changing any number of elements, such as the color, size, shape, spacing, position, and visual weight of the elements in a design.I Iypes of Compositions In years past there were formulas for print ad compositions, as the legendary art director and designer George Lois points out in his book What} the Big Idea? Advertisin has no rules—«what it alwa 5 needs more than “rules” is unconsti— Y pared thinking. The most significant advertising innovation in this century has been the Creative Revolution of the late 19505 and 1960s, when words and graphics finally merged. Until then, young artists entered the world equipped with nothing more than fatuous rules on the five or six ways to do a layout.2 The conventional thinking about layouts before the creative revolution (and, to the con~ sternation of many, after) was: ' A large illustration or photograph above a headline, which was above a block of body copy, with the logo in the lower rightvhand corner; or ' A headline above a large illustration or photograph, which was above a block of body copy, with the logo in the lower right~hand corner; or ' A big headline above a small illustration or photograph, which was above a block of body copy, with the logo in the lower right—hand corner. Another legendary agency head, David Ogilvy, who felt strongly about particular composi— tions, listed rules for layout or composition in his book Ogilvy on Advertising. Wit? agency: Dewilafvmé/New York Eteatiee amen: Sal Devan an Sweeter: Susanne Manatee Gopywtiiet; Mara Eldi‘l?‘ filéent; eCammzs ram point about why one needs eCampuscom, “Condimenthpaghetti Sauce“ In this campaign we see the same images labeled differently to make a When you’re broke, you look at things in a whole new way. So for textbooks and stuff, hit ecamouscom, You’ll save up to 50%. And shipping‘s always free, ecllllnllsicom Yextoooks & Stuff. Cheetos .J There are as many ways to design a print ad or Web site as there are ways to design any- thing. What you need to do is take into account how well and fast the advertising message is communicated by applying principles of balance, visual hierarchy, unity, and rhythm. In an ad for eCampus.com, our eyes easily move from top to bottom along a line of movement based on a diagonal (figure 7—16). In a composition for the Atlanta Ballet, the line or head- line is composed of two signs, Poison Control and Puncture Wounds, embedded in a very large photograph, which is an integrated way of fusing copy with the visual in composition (figure 7-17). Since the creative revolution, advertising has come to look less and less like the visual sales pitches of the industry’s early days. Advertising that doesn’t look like advertising is meant to attract aid-Weary viewers. Many art directors go for a posterlike quality, as in the dramatic “Goodbye Cal” ad for the Babe Ruth Museum (figure 7-18) or a film-noir-styled ad for Spe- cialized (figure 7-19). The look of an ad can be borrowed from other formatswlabels, logos, packaging, book jackets (figure 7-20), children’s books (see figure 8-8), or signage (figure 7—21). Ennis Imncr: flesign Printimes 137 tit-t it marten“ stresses: Sawyer Riley Comptonz‘htianta rated site: www hrandstetuteiletaeem Sseatiee 8§E£§£i€tfi San Cleveiand essesiate Creative givester: er Jackson {at fitteetet: Kevin Theem ngsewréter: An Weiss eastegtaeeer: Dave Kiesgen t; em: enema Bailet e001 The signs in a hospital setting ate a modern way of expiaining how Romeo and Juliet meet their untimely deaths, '1' Poison Control 9 ‘ © Puncture Wounds new“ “item’s may“: hmdlfiééfiefil 74 8 “Goodbye Cal" Agency: Arena/Richmond Ereative fliteetor! art Bitaetor: Michael Ashley Eeeywriters: Dinesh Kanpur, Michael Ashley. Matt Fischvogt Client: Babe Ruth Museum and Birthplace. Baltimore © 2003 Arnika LLC “This poster was conceived, created, said, and delivered in forty-eight hours The nonprofit museum wanted a presence at Cal Ripken’s final home game at Camden Yards in Baltimore. The Babe Ruth Museum needed to promote a ; fascinating Cal Ripken exhibit to the baseball fans " of Baltimore. We came up with the concept, found a photographer and printer to donate services, did massive retouching, and located a radio station to set up remotes to promote the posters and the museum. We distributed forty thousand posters at the game. The next week, the posters began popping up in droves on eBay as collector’s items. The final cost to the museum for all of this work and publicity: $0." 138 {WABNORMAL Hutu! womb Imu" In HA" In “III to! ll “HMO PSYCHOLOGY“... 7.29 “Textbooks. Easy. Fast. Cheap" agency: DeVito/Verdi/New York Creative Bireotar: Sal DeVito an flirectars: Anthony DeCarolis, Manny Santos, Ahi Aron, Aaron Eisman Eepywritez: Pierre Lipton Client: eCampusicom What a natural solution to position the ad message on a iaux textbook cover! 74 9 “Killer Frameai’cnair“ Agencg: Butter, Shine 8. SterniSacrsaiite Cyeaiiee Team: Patrick Pidtchow. Ryan Ehner Cheat: Specialized 2803 Boner. Shine & Stern The dramatic film nolr quality of this ad is arresting) Hx Jun} 1331 It» EMPLOYEES! WASH HANDS EXFOLIATE MOISTURIZE LATHER SKIN NOURiSHMENT MINERAL BATH FOAM FACIAL APPLICATION BUBBLE BATH BODY CREAM TREATMENT FRAGRANCE ENHANCEMENT BEFORE RETURNING TO WORK COURTESY BATH 8: BODY WORKS W720 ON 151' FLOOR POINTE‘OflLANDO 7‘2? Polnte Manda/Bath and Eddy Sign Agensy: PUSH Advertismg/Oriando Creative Direster: John Ludwrg Art Director: Mark Unger Client: Pointe Orlando/Bath and Body Works Playing off a health department sign that reminds employees to wash their hands. this ad takes the reminder much further, to a point about what the brand otters. Graphic Impact: Resign Principles 139 140 21223, i233 “Salmon” “Apple” segues: D‘Adoa. Lorenzmt ngizrelli, BBDOMHan and Rome creative Director: Stefano (Janitors an ulterior: Sara Portello magnifier: Andrea Rosagni firetograoeet: Carlo FQCCl‘ili’il Client PLASMGN May 2000 advertising in Resign illusion An illusion engages us by toying with our perception of space and reality. For example, you can create the illusion of movement on a two~dimensional surfacewrhink of centripetahlike designs, think OFCQI‘IOOHS that imitate motion, think of patterns that suggest movement. in print ads, the rhythmic structure of a composition can create movement up and down or across a surface. Other illusion effects involve space, sound, scent, and visual texture. When you depict a threeodimensional space on a twodimensional surface, you have to make certain decisions about the type of space, spatial relationships, and illusion you want to communicate. Distance from the work, point of View, and Format are all important deci» sions in the composing process. What ls Real? An illusion can be so compelling that it forces us to touch the surface to make sure the objects are not real. Although three~dimensional solids cannot exist on a rwo~dimensional surface, you can create an illusion of their existence, as in D’Adda, Lorenzini, Vigorelli, BBDO’S engaging campaign For Plasmon (figures 7a22a, 7~22h). “The illusion of sound in a still and silent medium engages another sense, thereby captur» ing our attention. With illusion, art imitates life in a most interesting way.“ A master designer, Herb Luhalin, once conjured the illusion of the sound ofa cough in a print ad (figure 7~23). You can even conjure a scent, like the smell of cigar smoke, by creating atmospheric illusion. (locating the illusion or impression of texture with line, value, andfor color is called visual rex» rune. it appeals to our sense of touch. Visual textures can he created with direct marks, indirect marks, or computer software. When you employ the illusion of sound, scent, or visual texture you’re engaging more than just the viewer’s sense of sight. Television and the W’eh include sound and actual motion; however, they too can conjure the illusion of scent. Positioning the main lines of copy on the walls enhances the illusion ofthree~dimcnsional space in Heirnat’s brilliant compositions for the Hornhach brand (figures 7—24a, 7—“4h). These ads break with convention by emphasizing the illusion of space by placing planes at angles (the walls) and by changing the point of view From which we enter the spatial illu» sion. in “Legends” we enter from the tight~hand side, Feeling as though our vantage point is higher than the man with the hammer. in “Sex,” the visual point ofentry seems to be right of center, where the drill “blocks” our way, yet heightens the spatial illusion. k "“e‘i'ef'rrre'rr . g" _,-.'._ (Hr ‘_ . ' . t A :I' . l' I Notes i 3,? 1. Robin Landa, (imp/Hr Design Solutions, 2nd ed. (Albany: Thomson Learning, 2001,). pp. 26w27i 2. George Lois with Bill Pitts, WVMI'S the Big Mm? Hour to “71'” with Outrageth Idea: TIM! Sell (New York Books, 1991). p 13. 3‘ Robin Landa> flanking creative/V}; 2nd ed. (Cincinnati: HOW Books 2002)‘ p. 48. : Penguin "flatmates—Indiana-“ “mm-“mum "(~23 “Break Up Cough” 1955 Designer: Hem Lubalin Courtesy of the Hash Luheéén 3296‘; (Senior e3 fiesign am? Typograoeg a: the Cooper Union Sehsoé a: Arr, Rev; Yori Lubalin was a master at communicating meaning through inventive typography 7443., 744% “Legends” as“. Agency: Helmet/Berlin Chem: Homoaen Mixing sexual prowess with home improvement. these highly memorable ads create a visual style and brand spirit for the Hornbach home improvement superstores. Graphic impact: leslgn lilaclules 141 ...
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This note was uploaded on 08/09/2011 for the course ADV 3361 taught by Professor Curtismatthews during the Summer '11 term at Texas Tech.

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ABD_CH07_design principles - 124 Grannic lmnact: “85m”...

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