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.
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.
Notes on current research
As my graphic commons project grows and I’m formulating links between different urban studies and theories, I’m finding out how little research there appears to be into graphic design in shared environments, (within both current or historic thinking around the topic). This may obviously be because I just haven’t found it yet, and others may be able to fill the holes in my studies, (please post in comments or DM me via the contacts page if you do have any research pointers). A 2017 report by the Design Commission titled People & Places: Design of the Built Environment and Behaviour, makes reference to how urban environments can influence mental health, but fails to mention anything in regard to how everyday visual culture may impact on this. Such references tend to be more explicitly discussed in anti-advertising doctrines such as the excellent Advertising Shits In Your Head. However, in doing so, such texts tend to be polemic and agitational in nature and do not make a wider connection to urbanism as a theoretical study.
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:
I completed another Graphic Commons walk this week, and I chose a location I’m not overly familiar with: Lowestoft—the Easternmost point in Britain. Like other Graphic Commons posts here, this serves as an immediate document of my drift, and the photos, (only crudely edited at this stage), will feed into a write-up of the walk I plan to do soon. The writing that accompanies the photos will form a key part of any final outcome, but for now I won’t be posting what I write on Field Readings as that aspect is very much a work in progress.
Walk duration: 2.7 miles
Steps taken: 6,077
Start time: 09:17 (train from Ipswich)
Ground covered: Town centre and side streets onto a main road that divides the town from port. Then on to the Ness, the most Easterly point, and back into town via an industrial area and what is known locally as a ‘score’—a narrow alleyway.
It is an impressive feat for an item of graphic design to stop you in your tracks. This week, while flicking through The Guardian in my lunch break, a full-page advert for Hull, UK City of Culture 2017, did just that.
There is more than a little New Rave and London 2012 Olympics about it. And the bold typography and clashing colours couldn’t fail to catch my attention, which is its point. For a city like Hull that is often described as being (insert own choice of ‘deprived’ adjective here) to be awarded City of Culture, there must be something going on there that many people south of the Humber Bridge have over-looked. It is out to grab attention, and nestled in amongst the column inches, and adverts for furniture and cars, there is little else to compete with it.
The copy gives voice to an entire city as being warm, welcoming and intelligently witty, but without over playing its hand or coming across as false. For the inquisitive it could be enough to make them search out what is being planned for Hull 2017, it did me. There is a bravery and freshness to this approach that many other towns and cities would avoid, being too wrapped up in their own heritage and thinking culture equals ‘serious’ or ‘highbrow’. It is a shame that the agency that produced the branding, Jaywing, aren’t based in Hull—but then maybe it takes someone with an outsider’s view to take such a radical approach.
I’ve never been to Hull and this makes me want to go.
Image source: Design Week