The Guardian have done it again in creating dynamic and impactful graphics to carry a story. But then I would have been disappointed had the triggering of article 50 for the formal start of Brexit been visualised by the paper in anything less than a dramatic style.
While I have some sympathy with some design criticism on Twitter about a jigsaw being an overused metaphor, I think this doesn’t give credit for the colour treatment making it look like a forgotten 1950s puzzle found in a charity shop. This helps to give the concept greater credence in relation to Brexit. That, and the exaggerated staggering of the typography to form an approximation of the shape of the British Isles. This in itself is a mark of typographic brilliance.
“There’s nothing new in this world…” is a phrase attributed to Harry S Truman on the Brainyquote.com website. In this post-truth world, who knows whether this was actually said by him or not. I do, however, know the content of the phrase itself to be true, post-truth or not.
In June last year I made a book for a project I was working on for my Masters degree. It was called Graphic Interruptions, and it collected together photographs I had taken of items of graphic design that had been visually interrupted in some way, thus affecting their communication potential. I also wrote an essay about it, and the whole thing looked like this:
It is not too bold a statement to claim that advertising is designed to interrupt our vision and assert itself into our conscious and subconscious minds. If it didn’t, corporations would not devote huge budgets to it. But recently I have observed a growth online of adverts that actually disrupt host content, in what can only be described as visual bullying. This is no more obvious than on newspaper websites that remain free from subscription.
Above the mast—a narrow advert banner
Looking at the instances of this dominating behaviour there is a clear hierarchy of worst offenders, with banner adverts being the most benign but none-the-less annoying for the reader. Many people will be familiar with websites jumping up and down while a browser decides what advert is going to be placed in the header. This appears worse on tablets as responsive websites rearrange themselves to suit a specific device. Add to this a slow internet connection, and such visual gymnastics can make a reader abandon before everything has settled down.
I’ve long believed The Guardian to be the best designed newspaper in the country, which is convenient for me considering some may think I fit the profile of a typical reader—feminist liberal-left vegetarian art teacher. It would be difficult for me to take if the Daily Mail fitted this design accolade.
But I like The Guardian for more than its graphic design; the fact its investigative journalism helps to keep in check those in power is equally as important to me, particularly in these days of party political impotence. Simon Jenkins summed this up well this week in From Snowden to Panama, all hail the power of the press during the breaking revelations about tax evasion.
A few years ago I wrote an article for Eye magazine blog after coming across a programme for the 1951 Festival of Britain. At the time I was aware of the existence of a series of small guide-books published to coincide with the festival called About Britain, but it was only recently that I actually came across any.
The US and UK book jacket designs for Harper Lee’s Go Set A Watchman. Picture: L—HarperCollins / R—William Heinemann. Source: guardian.com
I’ve written here and elsewhere before about how graphic design is overlooked in favour of other arts disciplines. I’ve come to expect this, so when Will Gompertz—the BBC’s Arts Correspondent—recorded a piece for the Six O’Clock News this week about the Design of the Year Awards at The Design Museum, I wasn’t surprised that the graphic design nominations weren’t mentioned at all.
When I was a design student there didn’t seem to be an abundance of books about graphic design. There were obviously some, such as recommended canons on the discipline like Meggs’ History of Graphic Design, but they were few and far between. And none, to my eyes, seemed particularly contemporary in their approach to relating to the subject.