LGBTQ campaigns

The British Army

The British Army is launching a strand of its "This is belonging" campaign to coincide with London Pride 2017: the traditional khaki camouflage is being swapped with rainbow colours. The campaign, created by Karmarama, goes live tomorrow across outdoor posters and social media, with rainbow camo cream to be distributed those attending this weekend’s Pride Parade.

Mr President

The independent creative agency is celebrating Pride in London by honouring four modern icons of the LGBT+ community as "Patrons of Pride," immortalised with illustrations in the style of stained glass windows.

Proximity London

Proximity London has created "Love lived here", a campaign to celebrate pioneers of the LGBT+ movement throughout British history. Starting on 26 June, key blue plaques around London were given a temporary rainbow makeover to acknowledge the individuals who lived there as part of the LGBT+ community, alongside their literary, scientific, economic or artistic achievements.

Vignelli's Cannon

In order to promote a design in which is well configured, it is essential that theorists are studied. As Vignelli is a key theorist within editorial design, I felt his work to be highly relevant. Specific quotes have been outlined in which may promote my design.

Environmental aspects

'In graphic design the issue of responsibility assumes particular importance as a form of economic awareness toward the most appropriate solution to a given problem. Too often we see printed works produced in a lavish manner just to satisfy the ego of designers or clients. It is important that an economically appropriate solution is used and is one that takes in proper consideration all the facets of the problem.

'Standardizing paper sizes, and consequently publication sizes, is a conscious contribution to the environment, ultimately saving trees, reducing pollution and waste. The choice of a publication size should be made with an awareness of its consequences, understanding that ethics and aesthetics have a common semantic root that should be respected. It is our professional imperative to see that these issues are respected.'

Grid systems

'For the design of a book the grid provides again structure and continuity from cover to cover. In a picture book, according to the content, the grid could have a number of columns and subcolumns to organize the information accordingly. In agreement with the content the size of the book will be the first thing to be determined. A book with square pictures will be square, a book with rectangular pictures will be rectangular or oblong, in accord with the most appropriate way to exhibit the material. The content determines the container - a basic truth also in book design. It is a good practice to relate the grid to the proportion of the majority of pictures, so that there will be the least need for cropping their images. Today photographers are more careful about the composition of their images, so the grid should be devised to take that in proper consideration. By structuring the grid accordingly the book will have a higher level of integrity than otherwise.'

Typography

'Most of the time we use flush left. This type of alignment derives from metal composition, particularly in Linotype. Formerly it was faster to keep the alignment on the left side rather then having to kern the slug for every line. It also makes more sense since in our culture we read from left to right and it is better for the eye to go to the next line than having to cope with hyphens all the time. However, it is important to control the shape of the rugged side by shifting sometimes the text from line to line to obtain a better profile. This may be time consuming but aesthetically rewarding. We use centered for lapidary text, invitations, or any rhetorical composition where it may be more appropriate, or for the address at the bottom of a letterhead, and for business cards. Justified is used more for text books, but it is not one of our favorites because it is fundamentally contrived.'

'One of the most exciting elements of typography for me is the contrast of scale on a printed page. I love the play between a very large type size for headlines versus a much smaller type size for the body text, with proper white space in between. White space for me is a very important element in graphic composition. It is really the white that makes the black sing. White, in typography, is what space is in Architecture. It is the articulation of space that gives Architecture the perfect pitch.'


'Our first rule is to stick to one or two type sizes at the most. If necessary, there are other devices such as bold, light, roman and italic to differentiate different parts of a text, but even there, stick to the minimum. Type weights can be used to great advantage when dedicated to a specific function, rather than be used for color purposes or even worse as a phonetic analogy'

Colour

'Most of the time we use color as a Signifier, or as an Identifier. Generally speaking we do not use color in a pictorial manner. Therefore, we tend to prefer a primary palette of Red, Blue, and Yellow. This may seem restrictive. This doesn’t mean that we do not like colors or that we are not sensitive to them. It merely means that most of the time we like to use color to convey a specific message, therefore, we tend to use it more as symbol or as an identifier.'

Layouts

'Any kind of publication has different layout requirements. However, it is inevitable that the layouts reflect the interpretation of the designer. Most publications are composed of text, images and captions and the task of the designer is to sift through the images to select those which best portray the essence of the content and possess the quality of becoming an icon. An icon is an image that expresses its content in the most memorable way.'


'Once the outside margins are established (I tend to like narrow margins to increase the tension) the basic grid should be devised according to the nature of the publication: 2, 3 or 4 columns for a book or a brochure, 6 or more, for a newspaper. Once the number of vertical divisions are decided the next step is horizontal divisions which will provide the number of modules per page. Again 2, 3, 4, 5, 6, 8 or more, according to the variety need of the publication. In defining the grid, one has to keep in mind what kind of visual material will comprise the layout.'

'Ultimately the most important device is the management of the white space in the layouts. It is the white space that makes the layout sing. Bad layouts have no space left for breathing - every little space covered by a cacophony of type-sizes, images, and screaming titles.

Summary

The smaller the publication size, the less environmental waste
Rectangular images equal rectangular publications, square with squares etc.
Garamond, Bodoni, Century Expanded, Helvetica, Optima, Futura, Univers, Caslon and Baskerville are the most effective typefaces.
Primary colours or the signifier.
Relevant iconography should be selected- images should go with one another.
Smaller margins equal more tension
Negative space makes a design more visually intriguing. 

Contrast between type 



'One of the most exciting elements of typography for me is the contrast of scale on a printed page. I love the play between a very large type size for headlines versus a much smaller type size for the body text, with proper white space in between. White space for me is a very important element in graphic composition. It is really the white that makes the black sing. White, in typography, is what space is in Architecture. It is the articulation of space that gives Architecture the perfect pitch. Another element is the relationship among type sizes in the same printed page. Our first rule is to stick to one or two type sizes at the most. If necessary, there are other devices such as bold, light, roman and italic to differentiate different parts of a text, but even there, stick to the minimum. Type weights can be used to great advantage when dedicated to a specific function, rather than be used for color purposes or even worse as a phonetic analogy. Some people who talk loud and tend to scream trying to persuade you, love to increase the size and weight of type to make the message louder. That is exactly what I consider intellectual vulgarity - something we try to stay away from. In a world where everybody screams, silence is noticeable. White space provides the silence. That is the essence of our typography.'

'Most of the time we use flush left. This type of alignment derives from metal composition, particularly in Linotype. Formerly it was faster to keep the alignment on the left side rather then having to kern the slug for every line. It also makes more sense since in our culture we read from left to right and it is better for the eye to go to the next line than having to cope with hyphens all the time. However, it is important to control the shape of the rugged side by shifting sometimes the text from line to line to obtain a better profile. This may be time consuming but aesthetically rewarding. We use centered for lapidary text, invitations, or any rhetorical composition where it may be more appropriate, or for the address at the bottom of a letterhead, and for business cards. Justified is used more for text books, but it is not one of our favorites because it is fundamentally contrived.'


Vignelli's 5 typefaces for legibility and style: Bodoni, Helvetica, Times Roman, Century, and Futura.

Hello mr.

Gay magazines are often consigned to one of two fates: vacuous lifestyle titles that swing between pop culture and personal grooming, or more recently, two a penny erotica journals. Unfortunately, most of them don’t really seem do anything to push gay culture forward in a smart and less stereotypical way. Rare then are the subtle and more nuanced publications like Gert Jonkers and Jop van Bennekom’s Butt, and over the last couple of years Ryan Fitzgibbon’s Hello Mr., the sixth issue of which recently launched in Berlin.

The magazine’s beautiful new issue issue takes on the mystique of Berlin and general ideas about experimentation, featuring a cover and intimate photo series shot by Berlin-based filmmaker and photographer Matt Lambert. It also includes an interview with photographer Marcus Leatherdale who got his start working for Robert Mapplethorpe in the 1980s and has since shot everyone from Andy Warhol to Madonna to Divine, and as usual there are numerous personal essays tackling modern gay life from interesting and individual perspectives.

“Whilst I was traveling I kept dipping in and out of comfortable gay life to back in the closet essentially. I would spend my weekends in Singapore in magazine shops or looking at the newsstands and there was no gay offering. Of course there wouldn’t be in Singapore. I did bring a few issues of Butt with me, but I wouldn’t have been confident enough to read those in public. So when I got back to San Francisco, my main idea was to make something for the community the traditional gay publication didn’t cater to. As soon as I started really forming the core character it was everyone else I was selling the idea to that started encouraging me to make something that was on shelf and that would be disruptive.”

The tagline “about men who date men” has remained a constant. “It’s strategic,” Ryan explains. “It’s apparent it’s a gay magazine, but it makes you rethink the content; it’s just about men who happen to date men – or marry them, or shag them or whatever. It’s stuck and it’s the only copy on the cover. I want it to be there as it goes into markets like Singapore and shops that have never carried a gay magazine. Just the fact that that tagline can exist in those places is another success or step forward.”

Summary 

The general aesthetic of the magazine focuses upon the glossy nature of a traditional magazine, although the imagery explored used is sourced from a broader format, with different photographers being used throughout. The magazine appears is part of an archive. The body copy is positioned clearly in a flush left format in order to promote legibility. 

Penguin books: the power of pantone

Puffin + Pantone is a series of classic novels paired with their perfect Pantone color match. Each cover is made to resemble the globally recognized color chip that’s defined Pantone as the standard in color communication all over the world. Puffin + Pantone is a collection of literature as diverse and boundless as the color spectrum itself.

Classic novels that have been transformed include The Adventures of Tom Sawyer, Anne of Green Gables, The Wizard of Oz, and Treasure Island. They are blue, green, yellow, and orange respectively, taking on “shades that reflect the stories within”, says Puffin.

The new covers aim to conjure the “inner child” in adult readers through drawing up associations and nostalgia through the use of colour.

Basic principals of graphic design

Alinement

Alignment is an important fundamental of design, since it helps create a sharp, ordered appearance by ensuring the elements have a pleasing connection with each other. Aligning objects properly will clean up a design and eliminate the messiness or sloppiness that can occur when elements are placed randomly.

Hierarchy

When you have multiple elements in a design, you want to make sure you’re giving extra weight visually to your most important message. This is called hierarchy and it can be accomplished in a variety of ways—larger or bolder fonts, placing your most important message physically higher than other pieces of information, or using shapes to frame the focal point. Utilizing this principle in your design starts with your message first and the goals of your design. Figure out what the most important piece of info is first. Perhaps you want the main message of your design to be a quote, but you also want to let viewers know how to follow you or that you have a sale. Visually establish your main message as the focal point with larger text or shapes to make it pop and then include your secondary message in a way that doesn’t overpower. We suggest designing your main message then adding additional text and using the design wheel on iOS to get suggestions for ways design multiple elements in one design. Alternatively, if you’re communicating on social media, you can communicate your secondary message in the copy or comment area.

Contrast

Contrast is an important principle of design because it lets you draw out the most important elements of a design and add emphasis. Contrast happens when two design elements are in opposition to each other, like black and white, thick and thin, modern and traditional, etc. Contrast is what helps guide the viewer’s eyes to the most important parts of your design and helps organize the information in an easily digestible manner.

Repetition

Repetition is an important design basic because it helps strengthen the overall look of the design. It also ties together different elements to help them remain organized and more consistent. Consistency and repetition is especially important in branding because you want your particular look to be instantly recognizable.

Balance

Balance gives a design its form and stability and helps to distribute the elements evenly throughout your design; this even spacing will offer an appearance that is professional and attractive instead of being jumbled and messy. Balance doesn’t mean elements need to be the same size, or that they must be distributed evenly across the page — it can be symmetrical or asymmetrical. Symmetrical balance weights the elements evenly on either sides of the design, while asymmetrical uses contrast to even out the flow of design (i.e. dark elements are balanced out by light ones).

Contemporary design trends

In order to gain a better understanding of graphic design, it is essential that you are aware of contemporary design. Knowing what design is currently popular will allow you to embrace and even break trends. Making your design personal to you. Below are some 2017/2018 design trends in which are highly relevant to my practice, and areas in which i must incorporate in future design in order to gather a strong portfolio.

Initial Research-Queer magazine

Thinking about editorial design in terms of embracing the Queer movement, it was decided that the editorial should be 'loud and proud'. Breaking boundaries and pushing type. The design therefore pushing restraints, the way in which the queer movement pushed the restraints of society. 

Balancing an off central position, the photography within the above piece does not comply to traditional centralised editorial design, and therefore breaks down boundaries. Colour is also a key influence with the design, as pink is not a traditional colour associated with males (the protagonist, in this case). 

The overlapping of type and image in the above case promotes a design in which is highly interesting. Applying to the rule of thirds, the design keeps the consumer engaged. Flush left has been used in order to promote legibility. 

The usage of typography in the above double page spread promotes a vintage, nostalgic feel. The usage of full page photographs is effective as this allows a wide surface for the consumer to digest, making the experience more visually interesting. This is also effective as a method of designing for impact. 

Hand rendered typography can be a successful way in which to add character to an editorial. Again pink has been used in the above design in order to combat issues with gender. 

The postmodern design above is an effective way in which to promote information, although it may be suggested that this is not entirely legible. As a result of this, I would suggest that i could not format the interviews in a style such as the above.

'Cutting type' is an contemporary design trait in which allows a design to appear multi dimensional. The effects of a design still promote legibility, although this would not be a sufficent way in which to promote body copt. 

Creative Contract

Defining the brief

Whats the problem? 

The problem is that a large percentage of individuals hide from their sexuality as they believe they will not be excepted, by friends, family and even society. With queer related hate crimes on the increase (with one in five saying they have experienced a hate crime in relation to their sexual orientation in the last 12 months), it is time for action. The publication will outlined real people, their issues and triumphs in relation to their sexuality. 

The brief

Develop a design artefact (magazine), in which highlights Erin’s imagery and key interviews focusing upon the LGBTQ movement. The design should promote lGBTQ positivity, being 'loud and proud'. 

The design should also promote myself and Erin as creatives, as this will appear within our portfolios. Therefore the printed deliverable must be strong. 

LGBT

Lesbian, gay, bisexual, and transgender (LGBT) social movements are social movements that advocate for the equalized acceptance of LGBT+ people in society. In these movements, LGBT people and their allies have a long history of campaigning for what is now generally called "LGBT rights", sometimes also called "gay rights" or "gay and lesbian rights". Although there is not a primary or an overarching central organization that represents all LGBT+ people and their interests, numerous LGBT rights organizations are active worldwide. The earliest organizations to support LGBT+ rights were formed in the 19th century.

A commonly stated goal among these movements is social equality for LGBT people, but there is still denial of full LGBT+ rights.^[4] Some have also focused on building LGBT+ communities or worked towards liberation for the broader society from biphobia, homophobia, and transphobia.^[5] There is a struggle for LGBT rights today.^[6] LGBT movements organized today are made up of a wide range of political activism and cultural activity, including lobbying, street marches, social groups, media, art, and research. 

Meeting with Erin

After returning from my placement, Erin and I arranged to meet and discuss the general style in which she would like the publication to maintain, relevant body copy and images. She stated that as the topic is surrounding LGBTQ groups, the design should explore relevant themes, for example, the gay flag colours.  Erin also highlighted which images she would like the publication to contain, essential images and then further imagery if it appears relevant.

Erin sent the relevant information over email, with the images and word file correlating. Erin seemed extremely organised at this phase, as essentially all her work was complete, and I was able to simply design the product without having to chase her for relevant information. This seeming a lot more straightforward than mine and Amy's previous collaboration, as I felt a lot of the Herbivore project was me waiting for relevant details.

At this stage, Erin also highlighted that Sophie and Murphy were in a relationship, and thus I could explore with ways in which this may be presented within the publication.


It was decided by the next time we met, I would have undergone relevant research and present my ideas to Erin, focusing upon a loud aesthetic.

Collaboration opportunity with Photography student

Through the LAU collaboration page, I discovered Erin Williams. A level 3 photography student who was in search for someone to collaborate with upon a zine/magazine for her COP 3. When discussing the general themes of the publication, it was stated that the theme was 'LGBTQ' movements in fashion photography'. Although I had not previously planned to take on a project at this time, I felt that this would be a great opportunity to design an artefact that can be placed within my portfolio, which I have a great interest in. Therefore making my portfolio specific and influenced by my passions.

As I had contacted Erin when my placement was taking place, we decided to meet once I returned to university. Erin's deadline for her practical was stated as the 13th of December, so to ensure that the project is fully complete I have set myself a deadline of the 5th of December. This is also to ensure that any printing errors that may occur can be resolved.

Turning point-sticker labels

After printing out the stickers, this became a large turning point in the project, as I realised many factors in which i had not previously considered and now have to change.

The labels appeared somewhat illegible due to a variety of factors. Firstly, at university you are unable to print with white ink, this resulting in the key type becoming transparent. As a result of the transparent type the products name specifics became unrecognisable, and difficult to read. The second key issue was that the illustration did not appear as effective due to the lack of contrast present. This meaning that the product looked dull and uninteresting. 

In order to combat the lifeless illustration, a blue background was added towards the design. This did not support my original agenda, and felt somewhat immature in terms of design. 

The curved jar was then explored with in order to promote a flat, air bubble free design. This became very difficult, and ended with the sticker having to be cut up into sections, a resort in which again appeared unprofessional.

Product was added to the container in order to promote the transparent type as white again. This worked, although this could not be applied to the other products as they contain different matters, meaning that the design must still be resolved. 

Feedback 

When discussing the products with my peers they suggested the following: 

'Why does the rounded container have to be used? The other containers do not follow this format, so if anything you are making it more difficult for yourself without promoting any continuity through the products. '

'A white background would be an effective way to resolve this? If you dd want the product to still appear visible then you don't have to fully cover the container, just print two separate labels.' 

'Labels generally look better when they have a greater width then height, this may be something you consider'. 

From this feedback, it is evident that there are key design stages to be completed before this product can be finalised. It has been decided that a white background will be put in place in order to promote legibility and contrast. It has also been decided that the curved container will be removed, in turn using a container in which is more likely to mimic the rest of the set. 

Things discovered:

• Can't print white ink in uni 
• Transparent background make the type difficult to see
• transparent background means less contrast, meaning less colour 
• could see sticker lines, appearing unprofessional
• weak in terms of colour

Mock ups

Although the backgrounds developed will be transparent, mock ups were developed in order to gain a better understanding of how they will be formatted, and whether they functioned properly. 

As one of the bottles contains a curved surface (both horizontally and vertically), this lead to multiple issues when designing the labels structure. A simple square label did not work as the curvature present meant that air bubbles appeared, this looking highly unprofessional. As a result, I explored with the label shape, in an attempt to resolve this issue. Although this worked for a paper label, I am unsure upon whether this will work for a sticker, as the medium used may produce a different result. 

The other two labels appeared clear and effective. The typography was easy to read upon both products, with the calligraphy appearing effective. The colours used stood out, and made the design 'jump out', a factor in which will likely gain the consumers attention. 

Reverse labels were explored with in order to promote legibility, and comply to the front label. It was found that a smaller label looked more in keeping to the product, with it being placed lower down in order to not be visible through the front transparent label. As less materials have been used to complete the smaller label, it is also more environmental, a factor in which is essential to company such as herbivore botanicals. 

The type size was explored with on the reverse label, to ensure legibility. It was found that anything under 6pt was illegible and thus should not be used. It is highly important that the consumer can read the list of ingredients present within a product due to allergies etc. 

Structure

As I am currently awaiting Amy's illustrations it was decided that a key focus would be placed upon structure. As the product is being developed for a younger demographic it must be outlined which designs would appeal most to them.

Aesthetics over function must be questioned, as it is evident in the consumer is design conscious. They encounter design everyday, on multiple platforms and are therefore are bored by generic designs. They're instagram obsessed, and document their lives through social media, it may even be suggested that to invest in a product it must be 'gram worthy'.

Culturally within this generation, black is resembled as a colour of class. Meme culture represents this perfectly, with some examples being outlined below.

Black can also be largely seen within 'high quality cosmetics' 

With trends becoming widely popular within this demographic it is essential that these are captured within the designs structure.

A variety of colours were explored with in consideration to the physical base of the product as well as the fastening mechanism. The idea of a transparent body seemed relevant and this would allow for the consumer to gain an initial connection with the lavish product. This also ensures the consumer, as they are able to evaluate the actual product before purchase. In discussions to the fattening mechanisms, a range of colours were highlighted. Also white was deemed to resemble a purity, it may also promote a cheapness towards the product. In order to combat this a black was selected, this not only promoting a luxury but also keeping in trend with the image conscious consumer.

Sourcing the containers

Sourcing the containers was a large difficulty as the desired products were only available to buy in bulk. The cost of these products was also an issue, as many were largely overpriced.
Although the consumer is likely to invest in a quality product, it is essential that the packaging costs are kept at a minimum in order to maximise profits.

Environmental issues were also a factor in which must be considered, as millennial's are far more environmentally conscious than their ancestors.  As a result of this, plastics used must be degradable.




Examples of packagings

Thinking about shape 

When thinking about the ways in which the bottle may be formatted, it was decided that curved bottles promoted the friendly nature of Herbivore Botanicals the most effectively. It was also decided that the containers should come in a variety of sizes in order to promote diversity.