In October last year I wrote about the visual identity for Hull City of Culture 2017. I’d mostly only ever heard negative things about the city but vowed to go there this year after seeing this deliberately attention grabbing piece of branding. Claire and I duly booked our summer holiday in the beautiful Lincolnshire Wolds for last week so that we could take a day out in Yorkshire, and Hull did not disappoint.
In the aftermath of the recent horrendous Manchester and London terrorist attacks, I was puzzled by the imagery used to accompany a new police warning advising people to RUN, HIDE and TELL if they should find themselves in the midst of such a situation.
Seeing this for the first time on the Channel 4 news, it puzzled me as to exactly what the middle image was. In focusing on trying to decode the visual I didn’t really read the word sitting beside it. As a result, I had to stare at the paused picture for some time before I saw what it was supposed to be—someone peeping out from behind an object. Before this realisation, my mind pictured it as a distorted question mark. In this, I also became aware that because of my confusion I was unwittingly put in the position of someone who didn’t read English, making the visual communication more important.
Of course, deliberate ambiguity has a place in graphic design. In using negative space, the work of illustrator Noma Bar, or the classic of the genre, the Fed Ex arrow, are perfect examples of how duality in an image can captivate an audience and engage them intellectually. Once decoded, the viewer’s ego is massaged that they have ‘got it’. More importantly though—once seen, the previously hidden image can not be unseen, and this reinforces the message.
Now too, with the Run Hide Tell images, I cannot not see what the HIDE image is meant to be. But with that initial questioning of what I was looking at, my visual perception was confused. The fact that it took me a while to decode the image brings to question its effectiveness in a situation no one wants to find themselves in. In just such an instance, visual ambiguity is the last thing anyone needs.
In the last few weeks I have seen several examples of a typographic
strikethrough or other obscuring devices being used as metaphors within different projects. The first I noticed was in a Design Week article about Hope Not Hate’s rebrand, designed by Blue State Digital.
Distance: 4.2 miles
Steps taken: 9,687
Start time: 09:37
Ground covered: Small town centre, surrounding residential areas and seaside promenade
Any talk of Southwold and psychogeography is duty bound to include a mention of W.G. Sebald’s Rings Of Saturn. I must, however, admit to not being a fan of the book; the tangents and diversions within his writing are too long-winded for me. My drift around Southwold yesterday, as part of my continuing Graphic Commons project, did take me up Gunhill, and past both The Reading Room and The Crown, all of which Sebald discusses in his text. These though, are as much of a mention as Rings Of Saturn will get here.
Yesterday I took my grandson to see the Lego Batman Movie at a cinema complex in town. It was great fun, even if much of the film was a little over the head of the 7 year old boy.
Such cinema complexes aren’t my usual choice of venue for movie going. Several people had warned me about the price of popcorn prior to the visit, and I expected to be marketed at from all angles, so I didn’t think I was going with any illusions. But as much as I enjoyed the film, the experience was sullied by coming away feeling that the boy and I had just been fodder for a slick and well organised advertising industry.
In discussing 2016 election campaigns with a student recently, I mentioned that to have a true understanding of the topic, it was necessary to research publications that they might not agree with—the Daily Mail, the Express et al. It has to be said that most of the critiques I’ve read of both the EU referendum and American Presidential election campaigns do so from a liberal arts perspective.
In considering this I proffered that, unfortunately, we might have to accept that despite any feelings of abhorrence towards the UKIP Breaking Point campaign, it was in fact a brilliant piece of propaganda on their part.
Today I visited the Design Museum in its new Kensington home. Primarily going to see the Design of the Year 2016 show with students, being a big fan of the museum, I was also keen to see how the relocation from Shad Thames had been managed.
There is much in the move to the former Commonwealth Institute building that is impressive. It is an incredible site and there is real drama as you enter the huge atrium and look up at the stunning roof. This drama only expands as you move on up through the floors.