It was an honour to have my revision of The Fundamentals of Graphic Design published by Bloomsbury recently.
It was a daunting job to take on, given how good the original edition by Gavin Ambrose and Paul Harris was. Early on I decided I didn’t want to radically alter vast amounts of what they had written—after all, most of the fundamentals haven’t changed. However, given the advances in technology since the first edition, it was clear my main job was to make sure the title reflected contemporary design contexts. In my first research sessions for the title in 2017, it was interesting to note that in 2009 when The Fundamentals of Graphic Design was first published, it came out only one year after Apple’s App Store first opened its digital doors. It was also one year before the iPad was released and Instagram had been heard of, (both 2010). I quickly established there were some important revisions needed.
There have been many other changes elsewhere in our industry: font files are now universal across operating systems; brand guidelines have gone digital with many now having dedicated websites; and audio and visual entertainment is streamed ‘on-the-go’ as physical media and TV schedules become a lesser part of people’s everyday lives. There has also been an explosion in niche publishing. However, possibly one of the biggest contextual shifts is that social media is a very different beast now than it was a decade ago, (remember MySpace anyone?), and as a result, how graphic designers market themselves and their clients has changed forever.
I cannot thank everyone at Bloomsbury enough for all the support they gave me in revising Fundamentals, as well as to all who agreed to provide new images. I am particularly grateful to O Street for artworking images of their website especially for a feature I wanted to include on them; and to Lawrence Woolston, head Arts technician at University of Suffolk, for helping me with some studio photography. Most of all though, I would like to thank Gavin Ambrose and Paul Harris for producing such an excellent text and structure for the book in the first place.
The Fundamentals of Graphic Design: Second Edition was published in October 2019, and was featured as one of five recommended reads in Creative Boom‘s Books For November.
Copies can be purchased directly from Bloomsbury in a variety of formats. Follow this link for more details.
The state of design criticism, it could be argued, has never been in better shape. There are the big guns, such as Michael Bierut and Jessica Helfand’s printed compilation of fifteen years of online discourse at the Design Observer with Culture Is Not Always Popular. Likewise, AIGA’s Eye On Design magazine which covers topics interrogated on a given theme, (see previous Field Readings post Thoughts on discussions on criticism). Mike Monteiro’s recent Ruined By Design: How Designers Destroyed the World, and What We Can Do to Fix It, is an accessible takedown of poor design choices and the importance of ethics to design decisions, while Mode of Criticism‘s self-titled publication is a diversely rich academic and theoretical critique of design in a time of neoliberalism.
One publication that caught my eye recently that I wanted to specifically highlight is the House of Common Affairs journal. It comes out of a forum held at the Royal College of Art in London, and moderated by the journal’s editor Paula Minelgaite, that sought to question the relationship between creative practice, current affairs and the way information is communicated to the general public. The journal specifically looks to discuss Fourth Estate utopias.
Image © Paula Minelgaite
Today sees the last copy of The Guardian in its Berliner format.
What is about to follow will be known by those that come to this blog post after Monday 15 January 2018, when the new look Guardian is launched. But for now, only the new masthead has been revealed in a video teaser.
The teaser, and its corresponding print campaign, demonstrates some interesting references to John Stezaker covering found photographs with white squares, (and Jonathan Barnbrook’s subsequent ‘borrowing’ of this for David Bowie’s The Next Day), see Field Readings’ post Graphic obscura.
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.
But journalism with integrity isn’t enough on its own, just as great graphic design isn’t enough on its own. You have to be able to engage readers in your content or it won’t gain the attention it requires. And this is where The Guardian really sets itself apart from pretty much all other news vendors, (with the exception of Channel 4 News, albeit via a different medium). The marriage of purpose and presentation is given equal respect in this daily paper, and the approach is integrated across all of its platforms, from newsprint to website to app.
If anybody should need a case study to prove my point, the Panama Papers story this week should be a convincing one. Deputy Creative Director of the Guardian, Chris Clarke, tweeted the next day’s front page every evening, and there were many of his followers waiting for the reveal each night as the story broke, (and continued to break throughout the week). If the awkward adjective ‘impactful’ can be ascribed to anything, it is the design decisions the creative team at the Guardian took to grab their readership’s attention.
Monday. Source: @chrisclarkcc